Pangramme :

learning type design

Pangramme : learning type design tries to make

a panorama of actual student type design.
A jury, composed of five professional type
designers with thorough teaching experience,
has selected 50 projects from an open call
for applications. All projects are unpublished
and have been created over the last three
years, under the guidance of professors within
schools and universities. They are presented
in this catalogue and in the eponymous
exhibition held at École Supérieure d’Art
de Lorraine, Metz, in spring of 2016. In this
book you will also find a Bibliography in
Images, a brief collection of books about type
design & typography published in the XXth
century, and an interview of each jury member
held by the students of Atelier Design graphique
& Typographie at ÉSAL Metz. The students
were also involved in the creation, organisa-
tion and design of all aspects of this inititative.
The jury was composed of Andrea Tinnes
(Germany), Alejandro Lo Celso (Argentina),
Matthieu Cortat (France), Hans-Jürg Hunziker
(Switzerland) & Gerard Unger (Netherlands).
Pangramme : learning type design
Pangramme :
learning type design
Pangramme : learning type design tries to make
a panorama of actual student type design.
An open call for application has gathered
alltogether 194 projects from 26 countries.
All are unpublished and have been created
over the last three years, under the guidance
of professors within schools and universities.
A jury, composed of five professional type
designers with thorough teaching experience,
has selected 50 projects presented in this
catalogue and in the eponymous exhibition
held at École Supérieure d’Art de Lorraine,
Metz, in spring of 2016. The jury was
composed of Andrea Tinnes (Germany),
Alejandro Lo Celso (Argentina), Matthieu
Cortat (France), Hans-Jürg Hunziker (Switzer-
land) and Gerard Unger (Netherlands).
¶ All entries were jugded anonymously
and all levels of studies were accepted, from
under­graduate, graduate and post-graduate
courses. All projects had to be a new, original,
recent and unpublished design. There was
no limit of age and there were also no fee
to enter. Any kinds of typefaces were eligible,
graphic as well as typo­graphic approaches,
going from experimental types to highly
legible typefaces in small sizes. Non-Latin
type was also eligible within a multi-script
family, as familiar in courses in Reading,
Den Haag or Amiens. Participants were free
to arrange their presentation, which resulted
in an interesting variety, but often also in
presentations which could have been done
with more care. No entry categories were
proposed – well known in professional
contests – we rather preferred to create
categories from the different entries. These
categories have been created only for judging
purposes, to better compare what can be
compared. In the presentation of the projects
however we did not keep the categories,
because too often projects could fit into
several categories and they were dividing
the projects unnecessarily. Nevertheless,
a certain ratio of selection for each category
was suggested to the jury to keep the diversity
of propositions and the different levels
of studies (in the Text category there were
for example mostly post-graduate projects).
The categories were :
Signage, identity, orientation (2 selected out of 8)
Handwriting, calligraphy, cursive single types (4/16)
Titles, expressive, big sizes, short texts (7/18)
Experimental, graphic, modular, hybrid (5/21)
Custom, corporate, identity, single types (10/22)
Revival, inspiration, interpretation, homage (7/25)
Text, immersive reading, editorial, multiple styles (15/30)
Due to the big amount of entries, a pres­-
election of 140 projects was proposed to
the jury, but the jury could also pick up non-
preselected projects. In general we can
record that the biggest category was by far
the Experimental one. Judging by the number
of projects that have finally been chosen
in this category, we can notice that it was
also the weakest one. The jury aggred
that the projects in this category could have
been more surprising. The second biggest
category was the ‘serious’ Text one, with a high
rate of selection. We find here numerous well
developed type families containing multiple
styles, scripts and optical sizes. In the Revival
category there were also quite numerous
projects, but less qualitative compared to the
ones in the Text category. Often the approaches
were too literal. You will find further obser­
vations in the interviews with the jury.
¶ The judging method was mainly based on
notes and comments, but as we also wished
a very personal appreciation by each jury
member, we encouraged them to choose a coup
de cœur, a project she or he particularly liked.
A generous list of honourable mentions were
also awarded based on the common best
notes . You can find them on the reverse side
of the book jacket. ¶ We also asked the partici-
pants about their favourite books. Most of
them quoted  : Tracy, Letters of Credit, Bring-
hurst, The Elements of Typographic Style,
Smeijers, Counterpunch, Unger, While you are
reading, Hochuli, Detail in Typography, Noordzij,
The Stroke and Kinross, Modern Typography.
You will find them among the Bibliography
in Images at the end of this book, a brief
collection of books about type design and
typography published in the XXth century.
¶ The aim of Pangramme, beyond the attempt
of an international panoroma , by definition
incomplete & inconsistent,  is, of course,
not underlining the best projects : it is rather Alja Herlah Joanna Angulska
a collection of diverse approaches and learning Erwan Beauvir Lisa Fischbach
processes than a contest. All projects show Jawaher Alali Agathe Morin
an intensive learning and research process, Shani Avni Minjoo Ham
often during a longer period of time. What
Zenab Bastawala Hugues Gentile
has been learned might be the real content
Lisa Dröes Borna Izadpanah
of this book, difficult to show. We have focused
on context, origin and purpose of each project, Calvin Kwok Elvire Volk Léonovitch
rather than presenting isolated glyph sets Rob Pratley Marcus Wachter
and alphabets. The descriptions were written Manuel von Gebhardi Fernanda Cozzi
by the respective designers, their typographic Isaline Rivery Juan Bruce
mise-­en-page was done by the students of Redouan Chetuan Nina Stössinger
Atelier Design graphique & Typo­graphie of ÉSAL Álvaro Franca Céline Jobard
Metz who were also involved in all aspects
Thibault Baralon Alessandro Sommer
of this initiative as well as in the interviews
Gasper Ursic Sejin Keum
with the jury. The general texts are set in a
type designed by the students in Metz : in fact Jonas Niedermann Minjeong Cho
all types you will read and look at in this Francis Ramel Chaerin Kim
book is the work of students . ¶ Now enjoy, Horacio Mella Éloïsa Pérez
and many thanks to all those who participated Axel Pelletanche Thévenart Dorine Sauzet
in this project and helped to achieve it. Junyu Deng Sergio Trujillo
Azamat Kodzoev María Ramos
Antonin Bertrand Martin Pasquier
Lucas Descroix Szymon Sznajder
Alice Jauneau Florian Runge
Vivien Gorse Matúš Ď určík
Lisa Maione Robert Jarzec
Jacopo Atzori Quentin Schmerber
Patrick Bässler Tassiana Nuñez Costa
Lucas Le Bihan Paola Vecco
Lorea Citores Sarah Kremer
 a a
Alica Display Alpha Brush
aa
Ambersonius Artemio
a
Awal
a a a a�
Kayak Koopla Kumar Lida Meroweg

a Bonde
a a a a
Bosozoku Brick Caligula Carolinéale
A a a a a
MISC Nina Noort Nordvest Occurrenza

a a a a a a a � a a
Chilca Didier Didime Dietrich ExTypographia Otto Pit-A-Pat Prelettres Quasar Satira

a a a a a a a a a a
Forje Gradual Grosse Hammond Hirondelle Sastre Sequence Shelf SherpaSans Sirion
Slab

a a a a a aaa aa
Hybrid JF-15 Joan Jubiler Kaius Talia Temeraire Thelo Tocapu Walther
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Alja Erwan
ee
Alali, Avni,
Bastawala, Isaline
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Redouan
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Agathe Minjoo Hugues Borna Elvire Volk
Herlah Beauvir Dröes, Kwok, Rivery Chetuan Morin Ham Gentile Izadpanah Léonovitch

e
Pratley,
von Gebhardi

e e e e E e e e e
Álvaro Thibault Gasper Jonas Francis Marcus Fernanda Juan Nina Céline

e e e e e
Franca Baralon Ursic Niedermann Ramel Wachter Cozzi Bruce Stössinger Jobard

e e e e e
Horacio Axel Junyu Azamat Antonin Alessandro Keum, Éloïsa Dorine Sergio
Mella Pelletanche Deng Kodzoev Bertrand Sommer Cho, Kim Pérez Sauzet Trujillo

e e e e e
Thévenart

e e e e e
Lucas Alice Vivien Lisa Jacopo María Martin Szymon Florian Matúš
Descroix Jauneau Gorse Maione Atzori Ramos Pasquier Sznajder Runge Ď určík

ee e e e ee e ee
Patrick Lucas Lorea Joanna Lisa Robert Quentin Tassiana Paola Sarah
Bässler Le Bihan Citores Angulska Fischbach Jarzec Schmerber Nuñez Costa Vecco Kremer
 g g
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Slovenj Gradec Paris Belfort Tetouan Tours Incheon Brest Tehran Toulouse

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*1981, Surat, Indian
* 1987, Amterdam, Dutch
Slovene French * 1993, Hong Kong, Chinese
French Moroccan French South Korean French Iranian French

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* 1989, Oxford, British

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* 1987, Plauen, German

* 1991 * 1993 * 1992 * 1993 * 1988 * 1992 * 1986 * 1984 * 1978 * 1988

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Rio de Janeiro Lyon Ljubljana St. Gallen Poissy Bamberg Buenos Aires Santiago Basel Besançon
Brazilian French Slovene Swiss French German Argentinian Chilean Swiss/German French

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* 1985 * 1993 * 1989 * 1982 * 1993 * 1994 * 1993, Daejeon * 1987 * 1992 * 1985
Santiago Tours Changsha Grozny Nantes Braunschweig * 1993, Daejeon Caracas La Roche-sur-Yon Comitan
* 1994, Pohang

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* 1992 * 1989 * 1989 * 1983 * 1990 * 1982 * 1990 * 1977 * 1986 * 1990
Ecully Paris Brive Tokyo Alessandria Santa Comba Nantes Poznań Flensburg Zvolen
French French French American Italian Spanish French Polak German Slovak

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* 1993 * 1993 * 1993 * 1988 * 1987 * 1988, Mińsk * 1990 * 1983 * 1985 * 1987
Nagold Rennes Eibar Konin Kiel Mazowiecki Haguenau Rio de Janeiro Lima Metz
German French Spanish Polak German Polak French Brazilian/French Peruvian French
 h h
NTF ÉSAD
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University ÉSAD
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ANRT
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UQAM KABK ÉSAD University ANRT
Ljubljana Amiens of Reading Amiens Nancy Montréal Den Haag Amiens of Reading Nancy

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Rio de Janeiro Lausanne of Ljubljana of Reading Nancy Giebichenstein de Buenos of Reading Den Haag Estienne
BR CH SI UK FR Halle Aires UK NL Paris
DE AR FR

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y Oficios Estienne Paris School of Art Paris Braunschweig University Nancy Amiens of Reading

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Karlsruhe Estienne Barcelona of Arts of Reading of Arts Amiens Amiens Barcelona Nancy
DE Paris SP Poznań UK Poznań FR FR SP FR
FR PL PL
 o o
Domen Alice
oo
Leonidas, Doan, Levée,
o Baldinger,
o o o o�
Alessandro
Bilak,
van Blokland, Doan, Levée, Leonidas,
Baldinger,
Huot-Marchand,
Huot-Marchand,
Fras Savoie Olocco, Morlighem, Colizzi van der Laan, Morlighem, Ross, Unger Jubert, Knebusch,

o
Jubert, Knebusch,
Patanè Savoie Mazé, Millot, Verheul, Savoie Millot, Rigaud,
Smeijers Savoie

o o oo
Rigaud, Savoie

Baldinger,
O o o o o
Rodolfo Capeto, Ian Marin Äantic, Leonidas, Huot-Marchand, Anja Kaiser, Dario Leonidas, van Blokland, Buschinger,

oo o oo
Gustavo Ferreira Party Domen Fras Ross, Unger Jubert, Knebusch, Andrea Tinnes Muhafara Ross, Unger van der Laan, Derre, Gray,
Millot, Rigaud, Verheul Jalleau
Savoie

o o oo oBaldinger,
Sergio Michel Derre, Jean-François Ilya Porchez, Ulrike Stoltz Donghwan Huot-Marchand, Doan, Levée, Leonidas,
Leiva Franck Jalleau Porchez Ruderman Priez, Réguer, Dan Reynolds Kim Jubert, Knebusch, Morlighem, Ross, Unger
Mazé, Millot,

o o o o o
Verlomme Savoie

oo o oo
Rigaud, Savoie

Baldinger,
Philippe Huot-Marchand, David Hannes Famira, Aurèle Leonidas, Doan, Levée, Krzysztof Leonidas, Matěj Málek,
Delangle Jubert, Knebusch, Théry Just van Rossum Sack Gaultney, Unger Morlighem, Kochnowicz Ross, Unger Lukáš Pevný
Millot, Rigaud, Sébastien Savoie

oo o o o ooo oo
Savoie

Baldinger, Greub,
Benoît Michel Derre, Balius, Jerez, Krzysztof Leonidas, Krzysztof Doan, Levée, Doan, Levée, Balius, Jerez, Huot-Marchand,
Bodhuin Franck Jalleau Meseguer, Kochnowicz Ross, Unger Kochnowicz Morlighem, Morlighem, Meseguer Jubert, Knebusch,
Urós Savoie Savoie Mazé, Millot,
Rigaud, Savoie
Alica Display Kayak
Alpha Brush Koppla
Ambersonius Kumar
Artemio Lida
Awal Meroweg
Bonde MISC
Bosozoku Nina
Brick Noort
Caligula Nordvest
Carolinéale Occurrenza
Chilca Otto
Didier Pit-a-Pat
Didime Prelettres
Dietrich Quasar
ExTypographia Sastre
Forje Satira
Graduel Sequence
Grosse Shelf
Hammond Sherpa Sans
Hirondelle Slab Sirion
Hybrid Talia
JF-15 Temeraire
Joan Thelo
Jubiler Tocapu
Kaius Walther
 Alica Display Black Italic
is a part of Alica Display, high
contrast and high x-height slab
serif family. Contemporary mix
of extremely heavy strokes and
exaggerated ink traps is inspired
, ,
by Carroll s, Alice s Adventures
in Wonderland, it is also the origin
of the name of the typeface. The
design challenge was to transform
cursive, handwritten shapes into
a serif italic. Stroke terminals
became angular inside and round
outside. The focus was on very
deep ink traps where the round
stroke joins straight vertical. Ink
traps logics and cursive strokes
led to many alternates, mainly
for uppercase letters. With a lot
of detail, Alica perfectly suits
for larger text sizes or headlines
with unique playfulness.

A Alica Display Black Italic Alja Herlah NTF Ljubljana

 Based on the TEP (Théâtre

Photograph by students of ÉSAD Amiens, post-graduate course Typography & Language, Éric Pascalis fund.
de l’Est Parisien) character
& few Marcel Jacno’s calligraphy
boards, my project aims to
convey their particular cursive
flow. The idea of reinterpreting
the identity of a theater

Contact sheet of the TEP typeface by Marcel Jacno.

by choosing a character that
I am interested in, as it was
a way of dealing with colloquial,
orality and popular everyday
language (important references
in Jacno’s work). In my typeface,
I have allowed myself slight
changes inspired by American
sign-paintings.

A Alpha Brush Erwan Beauvir ÉSAD Amiens

 Il modo de temperare le penne con le uarie sorti de littere, Ludovico degli Arrighi, published in Rome around 1523, source archive.org
Artemio is inspired by
a novel of Carlos Fuentes,
which refers to the death
of Artemio Cruz. The narra-
tion is divided into three
distinct voices : the first-
person narrative, an interior
voice, and an fortune teller.

Artemio is a serif type family dedicated to The Romain is

inspired by a model
books, especially pocket books. Its three styles of Ludovico degli
Arrighi. The sharp
are suitable for long texts, and can be used contrast of the
drawing is supported
alongside each other as three distinct “voices”. by fine and straight
Thus there are three different textures around serifs, which act as
a guide for reading.
a median gray. This typographical dialogue
The Inverse is built
can give life to literary texts where many on the foundations
of the Romain, with
voices are coexisting on the same level. a rotation angle in
the thick parts. This
The Artemio family stems from the writing evocation of a tool
manuals of the Italian Renaissance. It is there- changing direction
propels the drawing
fore based on humanistic structures, with outside the Renais-
sance norms. However
an obvious presence of the gesture. the typeface retains
a humanistic flavour.
The Romain easily emerged as a leading
voice because it is more rooted in our reading The Cursif brings
a different structure,
habits, but the Artemio type family invites inherited from the
chancery writing.
to reconsider the way all three variants Based on a Francesco
Cresci’s model,
are used. Each the Inverse, the Cursif and the the design features
a significant slope
Romain can also work autonomously. They and a narrow width.
mark a subtle distinction at the scale of
a page or a paragraph, as would do the three
voices of the same character.

A Artemio Isaline Rivery ÉSAD Amiens

 a four day workshop enti- cess we found
tled “What is a revival?” con- templating the
ducted by Riccardo Olocco term “revival”,
and Michele Patanè. spectrum that
The group assignment was staying faithfu
composed of an analysis of source – with a
two 1472 Venetian models – an authentic an
from before the “fixing” of manner – or us
Latin typographic models by ration for a ne
Jenson – and the development The overa
of a revival typeface with pre- Ambergau an
sentation of the results. generous in pr
Top : Orationes, Cicero, Marcus Tullius, printed by Adam de Ambergau in 1472.
Bottom : Doctrinale, Alexander De Villa Dei, printed by Ausonius in 1472. Our main challenge was one distinctive in c
of translation. This involved designed for co
Photograph by Riccardo Olocco, Milano, Braidense Library.

finding a balance between reflective read

the preservation of the para- literature, rang
graph atmosphere and mak- in Wonderland
ing sensitive design decisions the Shore”.
informed by critical analysis The design
of visual details. styles that d
Ausonius atmospheric va
they contribut
able and imme
experience.
Ambergau

A Ambersonius Group project University of Reading

 Awal was inspired by the linguistic and
typographical context in Morocco, a country
where three alphabets are commonly used :
Arabic, Tifinagh (for the Amazigh language),
and Latin (for French and Spanish). The
challenge is to design these three distinctive
scripts in combination within the specific
context of road signage, which essentially
calls for the display of short words,
such as cities’ names, as well as distances.
I started my project by working on Tifinagh,
A Awal Redouan Chetuan
which called for the greatest amount of
research to be done, regarding its very young
typographic maturity. The intention was to
keep the epigraphic identity of Tifinagh while
also providing it with a slight handwritten feel.
One of the biggest challenges for me was to
keep the vivacity of the design but still remain
subtle. This was especially necessary in the
context of signage, which calls for typography
with an air of authority. The Arabic typeface
is still in progress.
ANRT Nancy
 BONDE
IS A TYPEFACE
WITH

A conductor on top of a tramway in 1961 in downtown Rio. Photograph by Alberto Ferreira.

NINE
DIFFERENT
WIDTHS
IT IS THE RESULT OF RESEARCH ON HAND PAINTED LETTERING USED IN
RIO DE JANEIRO TRAMWAYS BETWEEN 1868 AND 1966. THE CARIOCA
ENGINEERS WHO LETTERED THE ORIGINAL SIGNS USED COMPRESSION
AND EXPANSION OF LETTERS SO THAT STATION NAMES OF ALL SIZES
WOULD OCCUPY THE SAME HORIZONTAL SPACE. BECAUSE THEY DIDN’T
HAVE LETTERING TRAINING OR A MODEL TO FOLLOW, THEY HAD TO
COME UP WITH OWN SOLUTIONS FOR THE PROBLEM OF WIDTH'S VARIA-
TION IN LETTERFORMS. BONDE APPLIES THESE QUIRKY AND INGENIOUS
DESIGNS TO A MULTI-WIDTH TYPE FAMILY, BUT ADAPTS LETTERFORMS
FOR CONTEMPORARY USE IN THEIR ORIGINAL FUNCTION : SIGNAGE &
WAYFINDING. IT WAS DEVELOPED USING A SUITE OF CUSTOM PYTHON
TOOLS WRITTEN SPECIFICALLY FOR THE NEEDS OF THIS PROJECT.
BONDE INCLUDES UPPER-CASE, true smallcaps AND �����������· IT ALSO
FEATURES BASIC PUNTUATION, TABULAR NUMERALS, MONETARY SYM-
BOLS, PORTUGUESE DIACRITICS, AND A NICE FORM FOR MISSING GLYPHS.

B Bonde Álvaro Franca ESDI Rio de Janeiro

 The Bosozoku
typeface has

Bosozoku Style. Car with sharknose, crazy aero and victory pipes.
Photograph by Dan Neni at THE LOWDOWN event (Australia).
been inspired by
Bosozoku a little
known japanese
underground
culture. The study
of these shapes
represent an
essential part
of this work.
This influence
enabled me to widen
my sight, my
perception of
shapes and helped
me to create the
letters. They are
based on a grid
of 7 x11 elements.

B Bosozoku Thibault Baralon ÉCAL Lausanne

 BRICK WAS DESIGNED FOR
THE BRANDING OF A NIGHT-
CLUB THAT UNFORTUNATELY
NEVER CAME TO LIFE.

E N TAL
ON UM
MTHE MAIN TASK WAS TO DESIGN A
MODERN-LOOKING
MONUMENTAL, MODERN-LOOKING
TYPEFACE WITH ORGANIC FEEL WHEN
OR ANIC
USING ITGAT FEE SIZES.
SMALL
SMALL SIZ L AT
E
The typeface should consider The stylistic characteristics of the Brick
the characteristics of the language typeface are wide proportions, small
environment where the night-club was stroke contrast, and Egyptian serifs
planned to be positioned as well as that resemble bricks. For the moment,
the specific day–night purpose of use. there exists only the regular style with
Since the Slovenian language shows a rather basic character set, since
some specifics such as use of many this was only a 3-month school-project.
diacritical letters and the frequent In addition to the basic and extended
appearance of the "LJ"-combination, Latin, I also designed the basic set
I had to consider it while designing of the Cyrillic characters.
the typeface. The results are seen in
lower x–height to give the diacritical
marks more vertical space and in
shape of the upper case "J" that is
extended in the descender direction
to reduce horizontal space while set

N A
next to the upper case "L" in words
such as :

L JA
LJUB

B Brick Gasper Ursic University of Ljubljana

 T H E • R O M A N • E M P O R E R

Gaius Julius Caesar, also known as Caligula is described as a

noble and moderate ruler during the first six months of his rule.

After an illness, the sources

focus upon his cruelty, ex-
travagance, and sexual per-
versity, presenting him as
an insane tyrant and mani-
ac with a split personality.
Caligula is a typeface family originally intended for
both magazines in print as well as on screen. Styles for
highly legible body text are accompanied by various
and distinctive display styles for expressive headlines.
Triangularity is the main stylistic feature of the design.
Spiky, triangular shapes ensure visual consistency
and coherence across the typeface family.The tension
in stems, heavy wedged serifs and triangular drop
terminals emphasize the stroke endings and therefore
the baseline and the x-height. Legibility clearly
benefits from such a stress. Stenciled counters not only
make the design more distinctive in the bigger sizes
but also proofed to perform surprisingly well in body
text size both in print and on screen. The fairly large
x-height, short ascenders and descenders and slightly
condensed but open counters, guarantee the excellent
legibility and efficiency of a magazine typeface.

C Caligula Jonas Niedermann University of Reading

         

The emergence of early musical notations,

which started from the eighth century onwards,
        
ended a secular tradition of melodies’ learning

   
          
based on word-of-mouth. The first musical notes
          
written down on parchment – called neumes – will then
        
evolve over the centuries to become our modern system
          
of musical notation. Two carolingian scriptures particularly
         
caught the attention of paleographers :
      ‫ פ‬  
the “Messine” writing and the writing of “St. Gall”.

St-Gall 359 manuscript, parchment, 178 pp, 28 x 12.5 cm, St. Gall, about 922 – 925 © St. Gallen, Stiftsbibliothek.
          
Those are still used today to interpret the Gregorian chant
         
as faithfully as possible to its ancestral form. The drawing
         
of Carolinéale was based on the observation of two peculiar
           
manuscripts, which are considered as landmarks with regards
        
to the study of early notation systems. It was also sustained


            
by the community of the Gregorio project, an open-source
     ‫ פ‬     
software whose objective is to enable publication of partitions
          
using Carolingian notation systems. The design process has
         
led to a relatively informal drawing style for the musical
           

   
signs, which is reminiscent of handwriting, and to a sans serif
          
alphabet thought as a contemporary interpretation
           
of the ductus of the Carolingian minuscule. The typeface
         
is integrating some telltale features of the ductus of the
         
Carolingian minuscule while seeking to remain stable,
           
contemporary and readable. Carolinéale is still in progress.
          
Among other things, the “Messine” writing is to be added
         
to the family, as well as an appropriate italic and
    
a few extra weights.

C Carolinéale Francis Ramel ANRT Nancy

 KALLFÜ PEWMA MEW
Blue Dream

Ñi kallfü rukamu choyün ka ñi

The blue house

tremün wigkul mew müley

where I was born is on a hill

wallpaley wallemu, küñe sause,

surrounded by hualles,

kamapu aliwen
a willow, chestnuts, walnuts

küñe pukem chi chod aliwen rümin

a spring aromo in winter

tripantümu küñe antü allwe kochü

Excerpted by Melanie Morales from “Kallfü pewma mew”

written by the mapuche poet Elicura Chihuailaf.
— a sun with ulmo honey sweetness

ulmo reke
— chilcos surrounded

ka tuwaymanefi chillko ta pu pinda

at the same time by hummingbirds,

rüf chi kam am trokiwiyiñ, küñe

that we did not know whether

rupa künu mekey !

they were true or a vision. So ephemeral !

Why not irradiate these feelings in a typeface ? The mild expression

of a humanist sans-serif. “Chilca” is a popular phonetic adaptation,
of female voice, of a shrub native to South America in Chile. It is also called
thilco, chilcón, fucsia, jazmin del papa, pendientes de la reina o tilda
(from mapuzungún chillko). The sans–serif type Chilca is an impulse and
an intimate reading of the undulating voyage and memory in these lands.
A friendly fabric dithering between austral rainforest walks, a subtle view
of the vibration of their blooming violet tones and challenging gravity curves.
It’s a formal and contra-formal whim of the detail from the letter to absolute
nudity, and it’s also a warm kiss on our ancestors’ skin scented of Canelo
and our magical Patagonia.

C Chilca Horacio Mella Escuela de Artes y Oficios Santiago

 Launched at school,the idea was to design a font
based on a portrait. I was looking for a very raw
and natural photograph to start designing some-
thing very directly inspired from the person. I came
across by chance this portrait of a truck driver in
which I could literally feel that it wasn’t taken by

Jean-Paul a.k.a. Didier. Photograph by Dominique Hérault, La Nouvelle République.

a professional. Since I didn’t have so much info

70
about him I started to name him Didier, same as
my uncle who is truck driver. As a kind of mimicry,
we had to base our calligraphic experiments on the
face, appearance, body and build of our character.
I had so many physical particularities which could
guide my design : Didier was thick, strong, solid and
sturdy, rugged, massy. Shapes are generous and
proportions are wide. Glyphs are neither too round
nor square, as Didier’s body. Stems and strokes are

Michelin Bridgestone Chauffeur

Tranquillement Agglomération
Scania Renault Trucks Jantes XL
Remorque Bâche Shell (130) Elf
Aire d’autoroute Auto Grill Esso
Poids-Lourds, Volant, Didier !
T380 High Sleeper Cab Maxity
Courtepaille Routier Télépéage
strongly carved. Shapes are muscular. His forehead
looks heavy on his eyes; this inspired me the invert-
ed stressed of the balance since this mainly has for
effect to increase the upper part bowl of the round
letters. Terminals and tails are cut frankly. Strong
serifs give the font an appearance of monospaced
proportions and align the letters on the baseline.
Stubborn. But don’t be fooled, Didier is perhaps not
so mulish and harsh… Didier logically became the
name of the typeface. Stable (steady), the name of
the font. Rather than regular or bold, stable defines
an attitude. The version entitled standard make a
step back from the stable concept to offer a design
which fits better to longer texts.

D Didier Axel Pelletanche Thévenart École Estienne Paris

 Une Famille, Madame Guizot (Elisabeth Charlotte Pauline), Amable Tastu, Édition Didier, 1853.
Didime is a revival project
based on

THE DIDONE STYLE,

chosen from the book
« UNE FAMILLE »
published by Édition Didier, 1853 in Paris.

This project aims

Photograph by Junyu Deng.

a redesign of
A VINTAGE
PRINTING TYPE,
giving a new life,
a new, modern form.
In order to get a decorative and expressive look,
new designs have deepened a look with high
contrast made of thin and thick strokes.

Didime is developed
in light, regular,
bold & italic.

D Didime Junyu Deng ÉCV Paris

 ¶ THIS
TYPEFACE
STARTED AS
AN EXERCISE OF
INTERPRETING
OLD IMPRINTS
OF METAL
TYPEFACES.
I TRIED TO UNDERSTAND HOW DYNAMICS WORKS IN SERIF
TYPEFACES. First there were a lot of strange things and sharp
serifs which complicated the amount of white space inside
the letters. I didn’t understand these issues at that point.
After I dropped the work for some time I looked it over
again with a fresh eye : it had an old style but with lines
of modern age, and lots of mistakes. I wanted to keep the
feeling of old style but peppered with sharp triangular
serifs ; somehow like a fairytale. As it had to serve as
a text face, I had to review some lovely ideas or had
to drop them off. I decided to have a dark color for
the text. Making a type family required further
other decisions, as for example specific forms
for headlines or highlighting text. This work
encapsulates my study and experience that
I have right now, but it still has the imprint
of my initial naivety.

D Dietrich Azamat Kodzoev British Higher School of Art & Design Moscow
 17th century, designed
by Paolo Maria Paciaud,
a devout Christian, archeo
gist, librarian and antiquar

Ex Typographia Palladis, Paolo Maria Paciaudi, 1761 (extract). Photograph by Antonin Bertrand

The character comes from
the book ExTypographia
Palladis. The “a”, atypical,
the tone, a soft appearanc
but a solid base by broad �
serifs. Governed by strict
typographic principles,
with some laughing nature
ExTypographia’s structure
is �exible, but embellished
by pinched drops, giving
it a character.

E ExTypographia Antonin Bertrand ÉCV Paris

 “Men don't remember the Past; they always re-build it.
They start from the Present — and it's from there that, always, they
know and interpret the Past.” The concept of subjectivity, inevitable,
but also desirable and useful in the writing of History, is here en-
unciated by “Men don't remember the Past; they French histo-
riographer always re-build it. They start from Lucien

Details from Annales Suevici, Martin Crusius, printed by Nicolas Bassei in Frankfurt, 1595.
Febvre (Lu- the Present — and it's from there that, cien Febvre,
De 1892 à 1933. always, they know and interpret the Examen de
conscience Past.” The concept of subjectivity, ine- d'une
histoire et vitable, but also desirable and useful in d'un his-
torien, in the writing of History, is here enun- Revue de
synthèse VII, ciated by French historiographer Lucien no. 2 (1934),
p. 104.). This Febvre (Lucien Febvre, De 1892 à 1933. concept has
been put into Examen de conscience d'une histoire et practice in
the field of d'un historien, in Revue de synthèse type design.
Based on a VII, no. 2 (1934), p. 104.). This concept book printed
in Frankfurt has been put into practice in the field of in the late
XVIth cen- type design. Based on a book printed in tury,

Photograph by Lucas Descroix.

a type family Frankfurt in the late XVIth century, a has been
developed, type family has been developed, trying trying to
harmonize to harmonize three very distinct origi- three very
distinct ori- nal styles: Roman, Italic and Frak- ginal styles :
Roman, tur. For this purpose, some details and Italic and
Fraktur. For structures have been either changed or this purpose,
some details shared. In regarding to faithful digital and struc-
tures have revivals, Forje takes quite a few liber- been either
changed or ties in order to make itself easily re- shared. In
regarding cognizable and legible for today's eye. to faithful
digital re- This is manifest in the Fraktur capital vivals, Forje
takes quite a letters, the historical model being some- few liberties
in order to times quite confusing on first sight. This make itself
easily reco- distance is what English type designer gnizable and
legible for Paul Barnes defines as a “contempo- today's eye.
This is ma- rary filter”, accepting the importance of nifest in the
Fraktur ca- our own time when looking at the past. pital letters,
the historical model being sometimes quite confusing on first sight.
This distance is what English type designer Paul Barnes defines as
a “contemporary filter”, accepting the importance of our own time
when looking at the past.

F Forje Lucas Descroix HEAR Strasbourg

 The first stencil

Gradual of Notre-Dame de Paris, volume 2, painting by Compardel and writting by Jean Fossard, 1669 – 1680, Paris.
alphabets were
used to set texts
in liturgical books,
in the middle of the
seventeenth century.

Sirius
The typefaces used in these books
enable us to estimate the date of their
creation, because stencil makers were
probably inspired by the printed

© National Library of France (BnF)

documents of their time. However,
the processes used for the creation
of an alphabet using stencil plates are
radically different from the ones used
for foundry type. In foundry type,
the printed letterform is thicker

Denebola
than the tool used for printing
(a piece of type derived from a punch).
With stencils, it is the opposite : the printed letterform will be
thinner than the pierced shape in the plate. The typeface I designed
is a contemporary interpretation based on early stencil alphabets,
which were used to set texts in the gradual of Notre Dame de Paris.
The name refers to the gradual of Notre Dame, and suggests a leveled
appearance. The family includes three variants in three weights,
Rastaban, Denebola, Sirius, which correspond to more or less shiny
stars. The Graduel family is a personal interpretation of a design,
linked to a historical context, which explores the specificities of a type
made with the technique of stenciling. The letters are « découpées à jour »

Rastaban
in the words of Gilles Filleau Des Billettes. They are crossed by the
light on the stencils plates, and bring light in the text by a significant
loss of weight.

G Graduel Alice Jauneau ANRT Nancy

 The first
drawings
of “Grosse” family (means fat in French)
came out with a very expressive and
unexpected style, encouraging to go fur-
ther with a massive weight under the
constraints of historical features. The
final type family offers a variety of styles,
for different purposes. The black, slab
serif style has a minimum amount of
white space and counters. The modern,
didot styles have an extreme amount
of contrast, including versions for
headings and versions for small texts.
The missing link between the two previous styles is a slab
serif with low contrast, for smaller text sizes. The different
styles are named after social classes in the early XXth cen-
tury and in relation with their function, as “Aristo” for a lux-
urious style with ornaments, made to be watched, a display
style; “Prolo” for pleb, the working class, the style that is the
most functional, meant to be read, with less ornaments; “Mon-
daine” for the society person, the style that imitates the lux-
urious style but that is cheaper, less elegant.

G Grosse Vivien Gorse Axe Sud MID Typographie Toulouse

 HAMM�ND IS A DISPLAY TYPEFACE

Evaluation of Liver Function in Clinical Practice (1965) and Kidney and Urinary Tract Infections (1971).
INSPI�ED BY RO�AN CAPITAL

Both published by The Lilly Research Laboratories. Art Direction of the series by C.E. Hammond.
PROPORTIONS �THE ART N�UVEAU
INTEREST IN NATURAL FORMS,
CURVES AND POETRY
IN EVERYDAY LIFE.
With a low-contrast stroke width, small tapering
serifs, and finely tuned detail angles, Hammond gives
a distinctive voice to any set of words.
With a wide range of ligatures and idiosyncratic

Photograph : Lisa Maione

alternate glyphs, every typesetting holds its
own unique context for content.
THIS TYPEFACE IS OPTIMIZED FOR USE
IN DISPLAY SETTINGS SUCH AS B�K
COVERS, EDITORIAL IDENTITY, MAGAZINE
HEADLINES & SUBHEADINGS,
AND FOR SHORT TEXT FOR
CASUAL READING.
Hammond is named for C.E. Hammond,
art director of a series of medical books published
by Eli Lilly Research Laboratories in the 1960's
and 1970's in the United States of America.
Though only a few books in the series were published,
the covers incorporated unique title lettering which inspired
Hammond's fundamental principles and quirks.

H Hammond Lisa Maione Type@Cooper New York City

 Hirondelle is a breathing slab serif. The
intention is to bring openness in a geometric
slab serif style, working especially with the
calmness of the curves differently from the
typical dynamism of classic slabs. The arcs
meet the stems with care in not loosing too
much linearity ; in specific black spots, the
cuts helps in the harmony. The terminals are
open and gentle in their geometry, with Brit-
ish reminiscences. Those shapes, together
with shorter-than-normal serifs, help avoid-
ing the clogged feeling, making the type-
face available in a broader range of appli-
cations. The linear contrast is calming the
text blocks, and details give a distinct form
in display. Counters are wide and shaped
byoptically corrected geometry. Ascend-
ers are slightly longer than capitals. Arcs
and cutting features are unifying lower and
uppercase. Caps have generous and modern
width proportions seeking the same quiet
rhythm, even when set in all caps. A set of
alternates has been designed accentuating
the geometrical, horizontal rhythm in order
to fully embrace the orthogonal sphere.

H Hirondelle Slab Jacopo Atzori ÉCAL Lausanne

 Hybrid is a typeface
designed to use
in two different
colors. It includes
three different
styles, one tra-
ditional and two
more to make texts
more colorful. The
letters are a com-
bination of bold
geometric shapes
and playful light
free forms. Like
a hybrid in plant
breeding, it takes
elements of both
and combines it
to something new.

H Hybrid Patrick Bässler HfG Karlsruhe

 This typeface was drawn from the study

Jean-François, picture taken on June 2014 at Saint-Briac sur Mer. Photograph  by Lucas Le Bihan.
of a Breton sailor's portrait. This particu-
lar picture striked me because of the mul-
tiple interpretations one can make just by
looking at the man’s face, so the first step
was to define his personality. I used the

⚏
following adjectives :
Strong,
impulsive,
serious & fearless
which became later the starting point for
my drawing process. I choose to combine
angular serifs with bold and sharp curves
to reflect his strong temperament. I also
wanted to make a typeface which a texture
showing the particularity of the sailor's
geographical environment. The result is a
particular italic style which works well also


in longer amounts of text.

J JF-15 Lucas Le Bihan École Estienne Paris

 oan is a contemporary huma-
nist roman type whose essence
J comes from the work of the
Basque cal­­ ligrapher Juan de
Yciar, considered the father of
Spanish calligraphy. Joan is a typeface
designed to perform best in print publica-
tion and is dedicated to the scope of calli-
graphy, lettering and typography in Spain.
It's design is based on the concepts of
modernity, humanity, versatility and indi-

hecho y experimentado, y ágora de nuevo añadido por Juan de Yciar vizcayno,

viduality. � This type and its future italic

Juan de Yciar, Pedro Bernuz (Zaragoza), 1550, Catálogo Cisne UCM.

counterpart do not intend to be a histo-

Arte subtilissima por la qual se enseña a escreuir perfectamente /

ric revival per se. Instead, they are based
on an interpretation of the Basque calli-
grapher´s style of letters seen throughout
his extensive body of work. � Joan aims
to give a solid identity to whatever publi-
cation in which it appears, and always
refers back to the strong history of Spa-
nish typography and calligraphy. It has
humanist letterforms with a larger eye and
more open apertures than usual. These
properties make it lighter and more rea-
dable, while saving interlinear space and
maintaining a homogenous texture.

J Joan Lorea Citores EINA Barcelona

 inspirations derive from old American pain
signs developed in the 60s. All letters are b
on the stroke of a round pointed brush. Ju
ler comes in one single weight. Curly upper
letters and a set of small capitals are us
circumstances when contrast and accentuatio
needed. Further, swash characters, alternat
letters, contextual ligatures, lining figures a
style figures create a natural feel of hand l
ring. Irregular baseline alignments and a l
number of contextual alternates contribute t
overall visual feel of a typeface which is fres
unique each time it is composed. Jubiler su
actually two Latin languages English and
It is most effective in headline sizes as we

J Jubiler Joanna Angulska University of Arts Poznań

 Kaius (ˈkeɪʌs) proper noun 1. designed for
challenging and complex text environments.
With its large x-height and open counter
spaces, it makes itself useful at smaller sizes
and has a clear grey appearance when set.
Its overall appearance is controlled, but as
soon as it’s used in large sizes it reveals its
details and its carefully balanced quirks.
2. Five weights from light to black, and
while each weight shares stylistic features
with the rest, they also bring individual
characteristics to help clarify complex
typographic hierarchies. Information, so
distinguished, is understood readily 3. Italic
a vivid complement to the Roman. Com-
bining a script-like approach with that of
a slanted Roman, it draws elements from
each to make a style that’s distinct, but
integrates well with the Roman in extended
text settings 4. Multi-script typeface comple-
menting the extended-Latin are Cyrillic,
Gujarati, Greek and IPA-Symbols. Each
writing system’s weight and proportions
have been carefully balanced so that not
only do they work together in embedded
multi-script text settings, but each script’s
natural forms are properly respected.
Каиус (ˈkeɪʌs) имя собственное 1. пред-
назначен для нестандартных и сложных
текстовых сред. Благодаря большой высоте
символов нижнего регистра и открытым
дополнительным пробелам он полезен
при малых размерах и имеет четко выра-
женную серую окраску при его выборе. Его
общий внешний вид настраивается, но
при использовании его в больших разме-
рах он раскрывается во всех подробностях
и демонстрирует свои тщательно сбалан-
сированные изгибы. 2. Шрифт Kaius об-
ладает пятью степенями насыщенности,
от светлого до черного, при этом каждая
степень насыщенности повторяет стиле-
вые черты остальных степеней. Они также
привносят индивидуальные черты, кото-
рые помогают четко различать сложные
типографские иерархии. Данные, выде-
ленные таким образом, легко поддаются
пониманию. 3. Курсив является ярким до-
полнением шрифта Roman. Сочетая прин-
цип рукописного текста с принципом на-
клонного шрифта Roman, он срисовывает
элементы с каждого из них, создавая стиль,
отличающийся четкостью, но при этом
хорошо комбинирующийся со шрифтом
Roman в расширенных текстовых настрой-
ках. 4. Кроме того, шрифт Kaius обладает
несколькими начертаниями. Помимо ши-
рокого применения в латинском шрифте
он также может использоваться в кирил-
K Kaius Lisa Fischbach
лице, в гуджаратском и греческом языках, а
также в международном персидском алфа-
вите. Насыщенность и пропорции каждой
системы письма тщательно сбалансиро-
ваны с тем, чтобы они не только взаимо-
действовали друг с другом во встроенных
многоплановых текстовых настройках.
При этом также соблюдаются естествен-
ˈkeɪʌs ˈprɒpə naʊn 1. dɪˈzaɪnd fɔː ˈtælɪnʤɪŋ
ænd ˈkɒmplɛks tɛkst ɪnˈvaɪərənmənts. wɪð
ɪts lɑːʤ ɛks-haɪt ænd ˈəʊpən ˈkaʊntə ˈs-
peɪsɪz, ɪt meɪks ɪtˈsɛlf ˈjuːsfʊl æt ˈsmɔːlə
ˈsaɪzɪz ænd hæz ə klɪə greɪ əˈpɪərəns wɛn
sɛt. ɪts ˈəʊvərɔːl əˈpɪərəns ɪz kənˈtrəʊld, bʌt
æz suːn æz ɪts juːzd ɪn lɑːʤ ˈsaɪzɪz ɪt rɪˈviːlz
ɪts ˈdiːteɪlz ænd ɪts ˈkeəfli ˈbælənst kwɜːks.
2. faɪv weɪts, frɒm laɪt tuː blæk, ænd waɪl
iːʧ weɪt ʃeəz staɪˈlɪstɪk ˈfiːʧəz wɪð ðə rɛst,
ðeɪ ˈɔːlsəʊ brɪŋ ˌɪndɪˈvɪdjʊəl ˌkærɪktəˈrɪstɪks
tuː hɛlp ˈklærɪfaɪ ˈkɒmplɛks ˌtaɪpəˈgræfɪk
ˈhaɪərɑːkiz. ˌɪnfəˈmeɪʃən, səʊ dɪsˈtɪŋgwɪʃt,
ɪz ˌʌndəˈstʊd ˈrɛdɪli. 3. ði ɪˈtælɪk ɪz ə ˈvɪvɪd
ˈkɒmplɪmənt tuː ðə ˈrəʊmən. kəmˈbaɪnɪŋ
ə skrɪpt-laɪk əˈprəʊʧ wɪð ðæt ɒv ə ˈslɑːntɪd
ˈrəʊmən, ɪt drɔːz ˈɛlɪmənts frɒm iːʧ tuː meɪk ə
staɪl ðæts dɪsˈtɪŋkt, bʌt ˈɪntɪgreɪts wɛl wɪð ðə
ˈrəʊmən ɪn ɪksˈtɛndɪd tɛkst ˈsɛtɪŋz. 4. ˈmʌltɪ-
skrɪpt typeface. ˈkɒmplɪmɛntɪŋ ði ɪksˈtɛndɪd-
ˈlætɪn ɑː sɪˈrɪlɪk, ˌgʊʤjəˈrɑːti, griːk ænd aɪ-
piː-eɪ-ˈsɪmbəlz. iːʧ ˈraɪtɪŋ ˈsɪstɪmz weɪt ænd
prəˈpɔːʃənz hæv biːn ˈkeəfli ˈbælənst səʊ ðæt
nɒt ˈəʊnli duː ðeɪ wɜːk təˈgɛðər ɪn ɪmˈbɛdɪd
ˈmʌltɪ-skrɪpt tɛkst ˈsɛtɪŋz, bʌt iːʧ skrɪpts
ˈnæʧrəl fɔːmz ɑː ˈprɒpəli rɪsˈpɛktɪd.
�ઉસ 1. �ઉસ પડકા�પ અને જ�લ લખાણ પય�-
વરણો માટે રચાયેલ છે. તેના િવશાળ એકસ-હાઈટ
અને ઓપન કોઉન્ટર �સ નાં લીધે, એ નાના માપ
માં ઉપયોગી જણાય છે અને સેટ થાય ત્યારે �� �
દૃશ્યમાં થાય છે. તેનો એકંદર બાહ્ય�પ િનયંિ�ત હોય
છે, પરંતુ �જ તે મોટા માપમાં વપરાય છે, તે તેની
િવગતો અને તેના િનયંિ�ત કવીક� ને સાવચેતીથી પરકટ
કરે છે 2. �ઉસ ઝાંખાંથી લઈને કાળા સુધી પાંચ વજન
માં અાવે છે, અને જયારે દરેક વજન બાકીના વજન
સાથે શૈલીયુકત લક્ષણો શેર કરે છે, તેમાં ��તગત
લાક્ષ�કતાઓ પણ લાવે છે જેથી જ�લ ટાયપો-
�ા�ક વંશવેલા ને �� કરવામાં મદદ�પ થાય છે. જે
માિહતી નામાં�ત હોય એ સહેલાઇથી સમજી શકાય
છે. 3. ઇટાિલક રોમન નો અાબેહૂબ પૂરક છે. �ી� જેવા
અિભગમ નો સ્લૈનટેડ રોમન સાથે નો િમશ્રણ શૈલી
બનાવવા માટે, જે અલગ છે પરત્યેકમાં થી તત્વ નીકાળે
છે, પણ િવ�ૃત ટેક્� સે�ગ્સમાં રોમન સાથે સારી
રીતે સાંકળે છે. 4. �ઉસ એક મ�ટી-�ી� ટાઈપફેસ
પણ છે. િવ�ૃત-લે�ન ને પૂરક િસ�િલક, ગુજરાતી,
�ીક અને અાઈ.પી.એ.-પરિતક છે. દરેક લેખન િસ�મ
નો વજન અને પરમાણ કાળજીપૂ�ક સંતુિલત કરવામાં
અા�ા છે જેથી તેઓ એમ્બેડેડ મ�ટી-�ી� ટેક� સે-
�ગ્સમાં મા� સાથે મળીને કામજ નથી કરતા, પણ દરેક
�ી� ના અસલી સ્વ�પો યોગ્ય રીતે જાણવી રાખયા છે.
University of Reading
 To be used
by a modern
architectural
magazine for
titling needs.
Geometric
shapes with
square angles
refer to modern
movements.

K Kayak Agathe Morin UQAM Montréal

 Koppla is a type family for texts
in Korean Hangul and Latin with
little to no typographic editing.
It is a serif typeface which has
a translation contrast based
on broad nib writing. Latin and
Hangul text textures are compact
and solid, alignments are har-
monious and work together well.
Koppla consists of five styles :
title, bold, book, text and italic
and supports many Latin lan-
guages as well as Korean. Koppla
has a hybrid upright italic style
for Latin and a reverse contrast
italic style for Hangul which came
A type family
for text in Latin
and Hangul
한글, 라틴 문자의
텍스트를 위한
다국어 글꼴가족
K Koppla Minjoo Ham
from various researches and
experiments to figure out how to
emphasize and differentiate Hangul
italic from Hangul regular effec-
tively. As for naming, Koppla
is a Swedish word which means
switch, link and connect. Fur-
thermore, the name Koppla starts
with Ko (for Korean) and ends
with La (for Latin). Motivation
for designing Koppla came from
the Korean version of The Stroke
by Gerrit Noordzij (Ahn graphics,
translated by Jiwon Yu, 2014)
and a multilingual typography
seminar in South Korea (2012).
KABK Den Haag
 Kumar ভেল, জর জর রিঝসে দুখ জ্বালা

is a multi-
সব দূর দূর চলি গেল। মরমে বহই

script
বসন্তসমীরণ, মরমে ফুটই ফুল,
মরমকুঞ্জ’পর ব�োলই কুহু কুহু অহরহ

{Latin &
ক�োকিলকুল। সখি রে উছসত
প্রেমভরে অব ঢলঢল বিহ্বল প্রাণ,
Bengali} নিখিল জগত জনু হরখ-ভ�োর

type ভই গায় রভসরসগান। শ্যামচন্দ্র

family,
বসন্তভূষণভূষিত ত্রিভুবন কহিছে

especially
দুখিনী রাধা, কহি রে স�ো প্রিয়, কঁহি
স�ো প্রিয়তম, হৃদিবসন্ত স�ো মাধা?

crafted for
ভানু কহত অতি গহন রয়ন অব,

editorial
বসন্তসমীর শ্বাসে ম�োদিত বিহ্বল
চিত্তকুঞ্জতল ফুল্ল বাসনা-বাসে। শুনহ

work. শুনহ বালিকা, রাখ কুসুমমালিকা,

কুঞ্জ কুঞ্জ ফেরনু সখি শ্যামচন্দ্র
It has a classical feel without being too historical.
Kumar Book is a sober, yet generous ‘bookish’ নাহি রে। দুলই কুসুমমুঞ্জরী, ভমর
typeface. Its design is inspired by various
references : the steady structure is borrowed
ফিরই গুঞ্জরী, অলস যমুনা বহয়ি
from late 20 century Dutch type design, while
the proportions are reminiscent of early Caslon
যায় ললিত গীত গাহি রে। শশিসনাথ
work. Baroque influences nourished the design যামিনী, বিরহবিধুর কামিনী, কুসুমহার
with subtle features that give Kumar Book its
personality. Its bold version is a useful addition ভইল ভার হৃদয় তার দাহিছে।
for documents with a more complex hierarchy.
Kumar Bengali is driven by the same principles, অধর উঠই কাঁপিয়া সখিকরে কর
seeking for a coherent combination between
the two scripts in order to optimize legibility.
আপিয়া, কুঞ্জভবনে পাপিয়া কাহে
Significant early references have been used গীত গাহিছে। মৃদু সমীর সঞ্চলে
as a basis, such as Figgins’ Bengali from 1826
whose fluidity was reinvested, yet updated with হরয়ি শিথিল অঞ্চলে, চকিত হৃদয়
contemporary proportions. Kumar Book italic
originates from an interpretation of several italics by চঞ্চলে কাননপথ চাহি রে। কুঞ্জপানে
Robert Granjon. Its cursive structure with discreet
slope variations gives a richer texture to the page.
হেরিয়া, অশ্রুবারি ডারিয়া ভানু গায়
¶ Regarding Kumar display and it's italic, the
features have been considerably accentuated
শূন্যকুঞ্জ শ্যামচন্দ্র নাহি রে! হৃদয়ক
to bring a more distinct personality. Moreover, সাধ মিশাওল হৃদয়ে, কন্ঠে বিমলিন
they were designed for very tight leading and
spacing, as if it was a pattern. Accents and মালা। বিরহবিষে দহি বহি গল রয়নী,
punctuation stick to this constraint and have
alternate geometric shapes reinforcing the নহি নহি আওল কালা। বুঝনু বুঝনু
identity of the design. Last but not least, Kumar
Bengali display is an experimental companion
সখি বিফল বিফল সব, বিফল এ
built to stylistically match the Latin. পীরিতি লেহা বিফল রে এ মঝু

K Kumar Hugues Gentile ÉSAD Amiens

 ‫طراحی «لیدا» مجالی بود برای آموخنت پایه و ساختار طراحی‬
Designing Lida has been a unique opportunity to
‫ این پروژه دیدگاه‬.‫تایپ‌فیس از آنهایی که همیشه تحسین می‌کردم‬
learn the foundations from those that I have always
‫مرا نسبت به طراحی تایپ‌فیس و فن‌آوری‌های مرتبط با آن تقویت‬
admired. It has given me a new perspective on type-
‫کرده و در عین حال مشوقی بوده برای استفاده از این دانش به‬
face design and the technology behind it, and at
.‫تازگی آموخته در جهت طراحی‌های تاثیرگذارتر‬
the same time, it has been a great encouragement
‫خانواده‌ی تایپ‌فیس «لیدا» ویژگی‌های یک خط را فدای دیگری‬
to make use of newly acquired skill and knowledge
‫عربی به شیوه‌ای طراحی شده‌اند که در‬-‫ التین و فارسی‬.‫نمی‌کند‬
in order to be a more effective designer.
.‫عین حفظ ساختار خود همنشینان خوبی برای یکدیگر باشند‬

‫لیدا‬
Lida is a typeface family
that does not sacrifice
the quality of one writing
system for another.
Latin and Perso-Arabic
are designed to work
the best in their own
right and a rather
conceptual approach
has been applied
to create a bridge
between the two
worlds. Not to make
them identical, but
to offer a harmonious
coexistence.

L Lida Borna Izadpanah University of Reading

 W��� �TUDYIN� � C�IN �H� TEX�U�L
INFOR�ATI�� F�UND ON THE LATT�R
PROVIDES �ANY CLUES TO ITS �RIGI�

Merovingian coin, MER-3675, [Obverse & Reverse], National Library of France (BnF), Coins, Medals & Antiques Department.
� BUT THE GRAPHIC F�ATURES OF THE
I�SCRIPTION (STRUCTURE 3 WEIGHT 3 END-
ING�) ALSO PROVIDE VALUABLE INFOR�A-
TION � SINC� TH� NI�ETEENTH CENTU-
RY �UMIS�ATISTS HAV� ATTEMPTED
BY �ANY �EANS (DRAWN ADDITIONS 3
CREATI�N �F LEAD CHARACTERS T� INTE-
GRATE THOSE FEATUR�S T� THEIR PU�LI-
CATIONS � U�FORTUNATELY TH�RE IS
CURR�NTLY N� DIGITAL F�NT CAPABLE �F
FULLY R�NDERING THESE SP�CIFICITIES �
THE PI� R�SE�R�H PROJEC�(�N� + �NR�)
AIMS AT TH� REALIZATION OF A TOOL
SUITABLE FOR TH� TRAN�CRIPTION �F THE
INFOR�ATI�N PR�VIDED BY TH� READING
�F MO�ETARY INSCRIPTIONS � BEYOND
THEIR �E�ANTIC C�NTENT +�ER�W��+
NAMED A�TER THE �PONY�OUS ��UN��R
OF THE ��ROVI��IAN DYNASTY 3 �YTHI-
CAL ANC�ST�R OF �L�VIS 3 IS � TYPEF��E
T�A� BRING� TO��TH�R I� A UNIFI�D
FORM �LL IDENTI�IED STYLI�TIC VARIANTS
� TH� DE�IGN LACKS SERIFS T� E�PHA�IZE
ON THE L�TTER STRUCTURE A�D HAS
� FAIRLY HIGH W�IGHT WITH L�W CON-
TR�ST TO DISTINGUIS� IT F��� THE REST
OF THE TEXT � LIGHT�R �IGN� ARE ALS�
INTEGRATED TO TH� FONT T� MA�K
�ISSING STRUCTURES 3 LIG�TUR�S 3
CUT L�TTERS 3 SCR�P�D 3

M Meroweg Elvire Volk Léonovitch ANRT Nancy

 TYPE COMES WITH CONNOTATIONS.
IN MOST CASES, THESE
CONNOTATIONS
ARE BASED ON STEREOTYPICAL
EXPECTATIONS THAT ARE A HARM-
FUL FEATURE OF OUR SOCIETY.
WHEN SPEAKING ABOUT TYPE, THERE

ARE SPECIFIC FORMS OFTEN

REFERRED TO AS FEMI-
NINE OR MASCULINE.
NOT ONLY DOES THIS REINFORCE
AN IDEA OF FEMININITY AS WEAK/
POWERLESS AND MASCULINITY AS
STRONG/POWERFUL, BUT ALSO CONTRI-
BUTES TO
OF GENDERS AS OPPOSITES.
»MISC« IS AN EXPERIMENT TO RAISE
AWARENESS AND TO QUESTION
ESTABLISHED REPRESSIVE SOCIAL
CONSTRUCTS.
ACTING AS A METAPHOR, THE TYPE-
FACE AIMS TOWARDS TWO BASIC
IDEAS: BREAKING UP STEREOTYPICAL
IMAGES OF FEMININITY AND MASCULI-
NITY
AND ENCOURAGING INDIVIDUAL DIVER-
SITY BEYOND BIPOLARITY.

M MISC Marcus Wachter Burg Giebichenstein Halle

 Eclectic, complicated, little bit
temperamental and arrogant, Nina

Fotocollectie Algemeen Nederlands Persbureau (ANEFO), 1945 – 1989.

is characterized by complex shapes
as much as by her passion. Half antique,

Nina Simone in 1965. Dutch National Archives, The Hague,

half didona, Nina is a display typeface
that has an attractive texture in short
texts and shows interesting features

Photograph by Ron Kroon.

in larger sizes. Nina covers a dynamic
structure with static strokes that gives
rhythm to the forms, letters and words.
In small sizes it generates an attractive
texture without compromising legibility.
Nina's identity is between rhythmic
and stable. The tension between curves
and angles and a slight “irregularity”
produces formal variations and
contributes to Nina's visual rhythm.
The combination of strong and dynamic
endings generate a distinctive and
modern movement in text. It combines
artistic uniqueness with functionality
and rationality.

N Nina Fernanda Cozzi Universidad de Buenos Aires

 Noort was initially thought to be a cartographic
typeface, as the inspiration of its design came
from 17th century Dutch maps. It cannot be
considered a revival because the roman style
has independent tastes, but the italic kept most
of the essence with its rough and fast approach.
Along the way, and due to maps many times need
to be printed in reduced scales, legibility at small
sizes (5 points) began to dethrone aesthetics
features. This prompted the typeface to seek pure
functionality in detriment of its original inspiration :
extreme large x-height, horrifying ink traps
and strong differentiation of the strokes provided
good experimentation, but poor results. During
17th century Dutch map. Photograph by Juan Bruce.
the process, re-adjustments were made in its
πρ

Tα
proportions to achieve balance. For this reason,
a typeface serving typography became the main ο βά
idea ; the roman and the italic, initially conceived να
to perform separately, became best friends.
Even though it still supports small reproductions
due to its large x-height, the design has features
that might be complicated to hold on those circum-
stances – such as serifs straddling in every letter.
This trait allowed Noort to be better appreciated
in 8 to 9 points, sizes that are very much suitable
for editorial contexts. Besides, Greek & Bengali
are now asking to be displayed in the same line
of text, which obliged Noort to have not only
good judgment in paragraphs, but in multi-script
typography.

O
ΩKEAN
KA
ΔI
N

N Noort Juan Bruce University of Reading

 ☞
It is one of the most
fundamental conventions
of Latin type design
that verticals carry more
weight than horizontals.
But what if they don’t ?

Nordvest is an exploration into the subtler

sides of reversed-contrast type design – a serif
typeface suitable for text whose horizontals
are just slightly heavier than its verticals. This
lends it a unique and distinctive voice and
texture, causing lines of text to strongly band
together. Away from clichés of cartoons and
cowboys, the intention was to study what heavy
horizontals could do for the texture of text,
and if I could find a way to make the effect
subtle enough to result in an eminently usable
(though distinctive) text face rather than just
a “loud”, attention-grabbing effect. The family
consists of romans and italics in four weights.

N Nordvest Nina Stössinger KABK Den Haag

 The Occurrenza project
results from a reflection
on what makes the visual
identity of a language. It
questions the ability of the
linguistic apparatus to bring
out, within a common writ-
ing system, a textual image
specific to each idiom. The
typographic project focuses
on four languages : Dutch,
Hungarian, Vietnamese
and Italian. The design of
the letters has been thought
to accentuate some linguis-
tic and typographic charac-
teristics to make them more
visible in each of the grey
texts. Ligatures sets have
been designed specifically
for instances of digraphs
and trigraphs, with various
stylistic sets depending
on languages.
Nog zoo heel, heel lang niet geleden woonde in een
dorp van La Mancha, een edelman, gelijk men die he-
den ten dage in Spanje nog bij de vleet vinden kan.
Zijne inkomsten waren slechts matig, en hij had daar-
van althans drie vierden tot zijn dagelijksch schraal
onderhoud noodig. Voor het laatste vierde schafte
onze edelman zich zijne kleeding aan, die elk jaar in
een nieuwen lakenschen rok, een fluweelen broek
en leeren pantoffels bestond. Zijne verdere huisgenoot-
en waren zijne nicht, een jong knap meisje van achttien
jaren, eene oude huishoudster en eindelijk een jonge
knaap, die het paard voeren, water halen, hout klooven
en verder huiselijk werk verrichten moest. Op den tijd,
dat onze geschiedenis begint, had onze edelman,
wiens naam Don Quichot was, zijn vijftigste jaar bijna
bereikt. Evenwel was hij nog kloek, krachtig en lang,
ofschoon ontzettend schraal en mager van gestalte,
O
Dutch
Occurrenza Céline Jobard
Viveva, non ha molto, in una terra della
ricordare come si chiami, un idalgo di qu
rastrelliera, targhe antiche, magro ronzi
consumava tre quarte parti della sua ren
bue che castrato, carne con salsa il più d
di pecore mal capitate, lenti il venerdì, co
cioncino nelle domeniche. Consumava i
di festa con un saio di scelto panno di lan
tofole pur di velluto; e nel rimanente de
zioso portando un vestito di rascia della
quarant’anni, ed una nipote che venti no
con esso lui, ed eziandio un servitore da
peva così bene sellare il cavallo come po
cinquant’anni; forte di complessione, ad
vasi di buon mattino, ed era amico della
portasse il soprannome di Chisciada o C
gli autori che trattarono delle sue impre
getture si può presupporre che fosse de
poco torna al nostro proposito; e basta s
delle sue gesta non ci scostiamo un punt
Italian
Cách đây không lâu, tại một làng nọ ở xứ
Mantra mà ta chẳng cần nhớ tên, có một nhân
vật thuộc lớp những nhà quý tộc có ngọn giáo
treo trên giá làm cảnh, một cái khiên cũ kỹ,
một con ngựa gầy và một con chó săn. Bữa ăn
hàng ngày của chàng chỉ có xúp bò, họa hoằn
mới được thịt cừu; bừa chiều: thịt hầm; thứ
bảy: trứng tráng; thứ sáu: đậu; chủ nhật thêm
một con chim câu nho nhỏ, thế là đã mất đứt ba
phần tư số thu nhập. Khoản tiền còn lại dùng
để may mặc: áo khoác ngoài bằng da nhẹ, quần
bó và giày nhung dùng trong ngày dạ hội, ngày
thường thi mặc quần áo may bằng loại vải cũng
khá tốt. Trong nhà có một bà quản gia ngoại
tứ tuần, một cô cháu gái chưa đầy đôi mươi và
một anh chàng người hầu kiêm cả việc trông
nom ruộng vườn, dọn dẹp nhà cửa và chăm sóc
con ngựa. Nhà quý tộc của chúng ta sấp sỉ ngũ
tuần, thể chất tráng kiện, da thịt sắt seo, mặt
mũi xương xẩu; chàng có thói quen dậy sớm và
rất thích săn bắn. Theo lời đồn, chàng mang biệt
hiệu Kihađa hoặc Kêxađa. Về điểm này, mỗi tác
giả nói một khác, song, theo sự ước đoán có thể
đúng, tên chàng là Kihađa. Tuy nhiên, điều đó
cũng chẳng ảnh hưởng gì lắm tới câu chuyện,
miễn sao khi kể ta không để sót một điểm nào
của sự thật.
Vietnamese
École Estienne Paris
 Otto is a type design experiment,
which originated f rom a project
about symmet r y in w riting sys -
tems. I changed the practice of
reading f rom the right to lef t to
a horizontal symmetrical system.
Otto is a display t ypeface with
st rong references to geomet ric
types – especially the Avant Garde
type by Herb Lubalin. Otto works
at its best with palindromes who
generate symmetrical » w ordpic-
tures «. The two oblique styles go
a step further, they are symmet-
rical to each other and work per-
fect in boustrophedon – like the
South Arabian Alphabet or the
Futhark (runes), which are built
on a symmetrical design principle.

O Otto Alessandro Sommer HBK Braunschweig

 Veins
are blood
vessels that
carry blood
toward the
heart.

P Pit-a-Pat Group project Hannam University Daejeon

 W�ITING IS FOREM�ST � M�DE OF EXP�ESSION.
ITS ACq�ISITIOn I�PLIE� THE LE�RNI�G OF
GRAPHICAL SYSTEMS, AND OF THE SYNTACTICAL
AND SEMAN�IC L�GICS THAT G�VERN THE LAN-
GUAGE I� AIMS TO RE�RESENT. THIS PRO�ECT
QUESTI�NS �HE GRAPHIC DIMENSI�N �F WRIT-
ING AND GUIDE� ITS LEARNING D�RING THE
PRIMARY �C���L, STAR�ING FROM THE LINE
�HE CHILD EXP�RIMENTS IN �HE BEGINNING �F

Learning forms, writing tools using Prelettres alphabet and designed to develop
THE NURSERY �CH�OL. �H�OUGH A PRACTICAL

very young children’s graphic gesture, 2014. Photograph by Éloïsa Pérez.

APP�OACH, AND THANKS TO TH� SUP�ORT OF
F�ENC� �UBLIC SCH�OLS ALL ALONG THE LAST
TW� YEARS, THIS R�SEARCH EXPERI�EN�S WITH
THE POTENTIAL �F HAND�RITTEN, ��CH�NI-
CAL AND DIGITAL LETTERFORMS TO DEVELOP
VERY Y�UNG CHILDREN’S WRI�ING ABILI�IES.
AF�E� ID�NTIF�IN� THE STAGES �F THIS COM-
PLEX PROCESS AND S�ECIFYING TH�M, SEVE�AL
TOOLS HAVE BEEN DESIGNED T� HELP CHILDREN
T� DISCOVER �HEIR GRA�HIC GEST�RE AS �EL�
AS THE TAS�E OF THE ERROR AND THE EXERCISE,
��ICH AR� ESS�NTIAL TO TA�E THE DRAMA OUT
�F THE ACTIVITY OF WRI�ING. PRELE�TRES IS
ON� OF THESE T��LS: THIS ALPHABET, MADE OF
CAPITAL L�TT�RS AND OF TH�IR MOST SIMPLIFI�D
SHAP�S, F�CUSES ON EXPLAINING THRO�GH
A GEOME�RICAL WAY H�W THE LET�ERS ARE
COMPOSED AND H�W CHILDREN CAN BUILD,
DRAW �R �RITE THEM. IN TH� LONG �ERM,
THIS RESEARCH ASPIRES TO DEMONSTRATE HOW
TYP�GRA�HY AND GRAPHIC DESIGN PARTICI-
PA�E IN THE EDUCATI�NAL �BJECTIVES WHICH
S�QUENCE THE LEARNING �F �RI�ING.

P Prelettres Éloïsa Pérez ANRT Nancy

 Qq
Quasar [kazaʁ] typeface
designed to meet the
special needs of complex,
high-density documents,
with a particular focus on
non-linear reading experi-
ences. Its twelve 12 styles are
split across four 4 ranges of
weight, allowing the typesetter
to create layers of information
and enabling the reader
to dig through these layers.
The family simply reveals
the underlying structure
of complex documents, and
guides the reader through
his search for specific infor-
mation. Yet even if these
differences in style should
help the reader to navigate
between various levels of
information, they must
also confer a harmonious
colour to the text : hence the
four 4 weights were deter-
mined to offer a balance
between homogeneity and
differentiation.
Q Quasar Dorine Sauzet
Along a similar line, I came
to question the notion
of family in type design.
In the specific case of a
dictionary, many differ-
ent layers of information
necessarily cohabit within
the same space. It seemed
interesting to me to design
the various styles based
on their function, and thus
to obtain a heterogeneous
family in which each member
expressed its own personality.
Yet again, it was necessary
to remain subtle in the
distinction. According to
these choices, I worked from
functional constraints
that determined the charac-
teristics to be assigned to
each variant of the family.
In the end, Quasar is a
typeface family that aspires
to strike a balance between
a variety of shapes and
genetic consistency.
ÉSAD Amiens
 sastre
(tailor)
■ □ ▣ ▤ ▥ ▧ ▨ ▲ ▶ ▼ ◀ △ ▷ ▽ ◁ � �
Sastre is a typeface family
for printing. It is suitable for
editorial and branding projects.
The wide counter-shapes and
the large x-height make it
perform well in small sizes.
It covers Latin, Greek and
Hebrew. The design was partly
inspired by the deconstructed
shapes found today in visual
arts, architecture and fashion.
The letters have a constructive
skeleton, but the curved edges
provided them with an organic
appearance. Sastre, tailor in
Spanish, dresses the structure
of the letters in a crafted suit
that softens their angularity.
The numerous corners of
the outlines are only visible
in display sizes. The geometric
structure changes from the
outside to the inside of the
letters, and it also differs
from one style to another.
The three scripts (Latin, Greek
and Hebrew) share some design
features, but each one has also
its own singularities. The color
styles and the geometric shapes
can be combined in many
different ways. They are a useful
tool for graphic designers.
Sastre Color uses the corners
of the outlines as a reference
for the fragmented body. The
two styles Bright and Dark need
each other for creating legible
text. The geometric shapes were
inspired by stitch patterns. They
can be combined for creating
borders or background textures.
■ □ ▣ ▤ ▥ ▧ ▨ ▲ ▶ ▼ ◀ △ ▷ ▽ ◁ � �
S Sastre
Η Sastre αποτελεί μία οικογένεια γραμμα-
τοσειράς που ενδείκνυται για εκτύπωση.
Είναι κατάλληλη για εκδοτικά έργα και
εμπορικά σήματα. Τα μεγάλα κοίλα και
στόμια, καθώς και το ύψος των πεζών
συνεισφέρουν στην αποδοτική λειτουργία
της σε κείμενα μικρού μεγέθους. Καλύπτει
το λατινικό, το ελληνικό και το εβραϊκό
αλφάβητο. Το σχέδιο είναι εμπνευσμένο
εν μέρει από τις αποδομημένες μορφές
που απαντώνται στις σύγχρονες τάσεις
των εικαστικών τεχνών, της αρχιτεκτο-
νικής και της μόδας. Τα γράμματα έχουν
δομημένο σκελετό, ενώ οι καμπύλες τους
προσδίδουν οργανική εμφάνιση. Η Sastre,
που στα ισπανικά σημαίνει «ράφτης»,
ντύνει τη δομή των γραμμάτων με ένα
περίτεχνο κοστούμι που μαλακώνει τις
αυστηρές γνωνίες. Οι πολυάριθμες γωνίες
των περιγραμμάτων είναι ορατές μόνο
σε κείμενα μεγάλου μεγέθους. Η γεωμε-
τρική δομή αλλάζει από το εξωτερικό στο
εσωτερικό των γραμμάτων, ενώ επίσης
υπάρχουν διαφορές από το ένα στιλ στο
άλλο. Τα τρία αλφάβητα (λατινικό, ελλη-
νικό και εβραϊκό) έχουν ορισμένα κοινά
χαρακτηριστικά σχεδιασμού, ωστόσο το
καθένα εμφανίζει τη δική του ιδιαιτερό-
τητα. Τα στιλ χρωματικής απεικόνισης
και τα γεωμετρικά σχήματα επιτρέπουν
πολλαπλούς συνδυασμούς, αποτελώντας
ένα χρήσιμο εργαλείο για τους γραφίστες.
Η Sastre Color χρησιμοποιεί τις γωνίες
των περιγραμμάτων ως σημείο αναφοράς
για την κατάτμηση του σώματός της. Τα
δύο διαφορετικά στιλ, Bright και Dark,
χρησιμοποιούνται σε συνδυασμό για τη
δημιουργία ενός ευανάγνωστου κειμένου.
Οι γεωμετρικές φόρμες εμπνέονται από
διαφορετικές βελονιές, και μπορούν
να χρησιμοποιηθούν για να δημιουργη-
θούν περιγραμμάτα ή υφές φόντου.
María Ramos
‫סאסטר הוא משפחת גופנים‬
‫ מתאים לכתבות‬.‫עבור דפוס‬
‫ חללי פנים‬.‫ופרויקטיי מיתוג‬
‫ וגובה‬,‫האותיות הרחבים‬
‫האות הגבוה מאפשר לו‬
.‫לעבוד טוב בגדלים קטנים‬
‫ יוונית‬,‫הגופן כולל לטינית‬
‫ העיצוב הושפע‬.‫ועברית‬
‫בחלקו מהצורות המפורקות‬
‫שניתן למצוא כיום באומנות‬
‫ ארכיטקטורה‬,‫חזותית‬
‫ לאותיות יש מבנה‬.‫ואופנה‬
‫ אך שוליהן המעוקלים‬,‫מורכב‬
.‫מספקות להן מראה אורגני‬
,‫ חייט בספרדית‬,‫סאסטר‬
‫מלביש את בגדי האותיות‬
‫בחליפה עשויה בהתאמה‬
.‫אשר מרככת את זויותיהן‬
‫הפינות הרבות של קווי‬
‫המתאר נראים לעין רק‬
‫ המבנה‬.‫בגדלי ראווה‬
‫הגיאומטרי משתנה בין פנים‬
‫ ואף בין סגנון‬,‫וחוץ האותיות‬
‫ שלושת סוגי הכתב‬.‫לסגנון‬
)‫ יוונית ועברית‬,‫(לטינית‬
‫חולקים מאפייני עיצוב‬
‫ אך לכל אחד מהם‬,‫מסויימים‬
.‫יחודיות משלו‬
‫הסגנונות הצבעוניים והצורות‬
‫הגיאומטריות יכולות‬
‫ הם‬.‫להשתלב במגוון דרכים‬
‫כלי שימושי עבור מעצבים‬
‫ ׳סאסטר צבע׳‬.‫גראפיים‬
‫משתמש בפינות קווי המתאר‬
‫ שני‬.‫כרפרנס לגוף המחולק‬
‫הסגנונות ׳בהיר׳ ו׳כהה׳‬
‫צריכים זה את זה על‬
.‫מנת ליצור טקסט קריא‬
‫הצורות הגיאומטריות עוצבו‬
‫ ניתן‬.‫בהשראת דגמי רקמה‬
‫לשלבן עבור יצירת מסגרות‬
.‫או טקסטורות לרקעים‬
University of Reading
 From ancient Greek
plays and fables
to modern novels
and television shows,
satire has been used
as a tool for constructive
social criticism.
vI miubq linq nonqviN xOc[nqelj bOAkqxoeka pinqx tkqeka
xonqknq cnqbo ema to[nqlu bokqxj hokeb fokqkianqp kinqckqmi
vaxkqppIhunq xiabNtOdm bnqfAcbnbq cOtkqpin[q ekaA

Οι Σάτυροι ήταν κατώτερα μυθικά όντα “δαίμoνες” της

ελληνικής μυθολογίας, (πνεύματα των βουνών και των
δασών), τους οποίους η Ποίηση και η Τέχνη τους απεικό-

Они териоморфны и миксантропичны, покрыты

шерстью, длинноволосы, бородаты, с копытами
(козлиными или лошадиными), лошадиными

The present typeface is inspired by this rhetorical

device, and by its ability and by its ability to draw
attention to particular and wider issues in society.

Satira is a multi-script type family conceived Satira’s italic counterpart is an angular

for editorial purposes (satirical journalism).
Its big x-height, small ascenders and descenders,
and slightly narrow proportions make it a
well-suited choice for magazines, newspapers
or any kind of space-saving typesetting situations.
Certain idiosyncrasies like the construction of
the serifs, angular cuts, round terminals, and
a slight swelling of the shoulders, aim to bestow
Satira with a subtle quirky yet assertive character.
With the intention to further enhance its visual
impact, these idiosyncrasies are greatly exaggerated
within the display version of the family.
and flavourful font, which both contrasts
and harmonizes with the roman variant.
Satira encompasses four different scripts :
Latin, Greek, Cyrillic, and Tai-Ahom,
which was the script used by the rulers
of the Indian state of Assam from the 13th century
until the establishment of British rule in 1838.
It consists of 29 consonants, 12 inherent vowels,
ten digits, two numbers, and four punctuation signs.
In spite of no longer being in use, the Tai-Ahom
script retains cultural and religious significance.

S Satira Sergio Trujillo University of Reading

 Sequence is a typeface
family conceived
for magazine design.
◆ It is focused on publications mainly comprising feature articles & news ◆
Sequence first consists of
a couple of text typefaces :
in the one hand, a large
version with long ascenders
and descenders, comfortable
for reading lengthy texts,
named Petit œil. In the other
hand, a semi- condensed
version, named Gros œil,
with short ascenders and
descenders. On an equal
x-height, that one has a
real gain of space. Each text
version has medium and
bold weights, including
their matching italics.
Sequence Petit œil is freely
inspired by “Latines”
typefaces and other French
typefaces from the 1950s,
Petit œil
S Sequence
whereas Gros œil was
derived from text faces
of the Monotype catalogue,
especially MT Plantin.
These sources have
been treated through
a minimalistic drawing,
giving them a sharp
appearance, and merged
into the text styles of the
family. Sequence is comple-
ted by a very condensed
and contrasted display
version. Condensed styles
are commonly used for
titling, to gain space. The
lack of legibility is com-
pensed by the short length
of titles. Sequence Display
has a strong personality
& shy typo­graphic details.
Gros œil
Martin Pasquier ÉSAD Amiens
 Shelf ☞
is a typeface for text &
identification purposes.

The construction is

�
based on roman type,
while its form is ins-
pired by the landscape
of a shelf glacier.

� It has three master weights

ready to be interpolated, namely :
Hair, Regular, Black.

Roman paired with

Oblique is intended
aa
to inform & wayfinding
navigation systems.
�
aa

& Hebrew, a lot of stylistic variants

Roman paired
with Italic

The typeface includes Cyrillic

is to be used

�
in longer texts.

& OpenType features.

S Shelf Szymon Sznajder University of Arts in Poznań
 Sherpa Sans’ journey started out as an
attempt of discovering uncharted territory.
In its quest it crossed borders and bridges
and wandered through fields and mountains.
It stood bewildered at crossroads and got
lost in blizzards and sandstorms. After years
of travelling off the beaten path, Sherpa
Sans found itself and has matured into
a confident type family with a purpose.
The aesthetic of this informal flared sans
is sturdy and reminiscent of inscriptions,
while maintaining a soft breeze in its
contours. The typeface features a moderate
contrast and distinct terminals blended with
emphasized in-strokes. A smell of sandalwood
with nuances of earthy moss scent. A natural
look with a dynamic rhythm, that thrives
in wooden and rock-solid materials. Sherpa
Sans’ natural habitat is at the crossroads
of editorial and packaging work, but by nature
a Sherpa is flexible and is willing to take risks.
It enjoys discovering the unknown and adapts
to new environments with great ease.

S Sherpa Sans Florian Runge University of Reading

 Sirion is a contemporary
blackletter typeface. It merges

Pontifical-missal of the St. Gall Abbot Diethelm Blarer, 1555. St. Gallen, Stiftsbibliothek, Cod. Sang. 357 : Missal
strict proportions of gothic
Textura and free expressive
forms based on non-parallel
stroke principles. The basic
shapes of lowercase letters
were originally derived from
a digital reconstruction of
old Swiss manuscripts from
the 16th century, while capital
letters were designed in a more
modern style. This typeface
can be of good use in occasional
lettering, posters & music
cover art. It can be also used
in smaller sizes and short
texts, surprisingly legible.

S Sirion Matúš ĎD ǔrčík Masaryk University Brno

 Talia is a type family designed for
highly structured texts, demanding
number of means to underline hie-
rarchy of contents. It is suited for texts
containing vast number of information :
from quotations, technical terms and refe-
rences to several levels of titles, section
marks etc. (like in technical or academic
publications, manuals, schoolbooks or
encyclopedias). The traditional scheme,
based on relation of roman and italic,
was in this case expanded to triad. The
core of the family consists of roman and
two italics, designed to be used simul-
taneously : for subsequent levels of empha-
sis or the whole, special parts of publication.
Thanks to calligraphic origin, each of the main
three styles leave a notion as they were written
by the same hand. The use of second italic
might be an alternative to giving an extra space
to some words as a mean of emphasis, if italic
has been reserved for other type of information.
The still common practice of exaggerated
word spacing due to the lack of established
adequate solutions, results in breaking the
integrity of text column and decreases reada-
bility. Twelve weights gives precise control
over the color of the text, either for empha-
sis, or in case of merging different point sizes.
Main part of the spectrum was adjusted
to work best at smaller sizes, while the extre-
mes share an extra display features. The
family comes in two scripts : Latin and Cyril-
lic, supporting all European languages.
T Talia Robert Jarzec
Талья это шрифтовая гарнит
чена для высоко структуриро
стов, которые требуют колич
чтобы подчеркнуть иерархию
Он подходит для текстов сод
ширное количество информа
тировок, технических терми
на много уровней заголовков
т.д. (например, технических
публикаций, учебных пособи
учебников и энциклопедий).
традиционная схема расшир
Основу семьи состоит из трёх
антиквы и двух курсив, пред
для использования одноврем
следующих уровней акцента
специальном части публикац
фическое происхождение по
из трёх основных стилей оста
как они были написаны одно
пользование второй курсивы
альтернативой придания доп
пространство для некоторых
честве средство акцента, если
были зарезервированные для
информации). 12 начертаний
над набором, либо для акцен
главий и примечаний к осно
Основная часть спектра пред
набора уменьшенным кеглем
мают дополнительные функц
Гарнитура спроектирована в
тинским и кириллическим, п
все европейские языки.
University of Arts in Poznań
 ☠

From : Alan Bartram, Tombstone Lettering in the British Isles, Lund Humphries, Londres, 1978.
THE
TEMERAIRE
FAMILY
A collection of typefaces inspired
by British lettering tradition

Photograph by Alan Bartram.

at the turn of the XIXth century
The Temeraire family, named after the British ship
HMS Temeraire which defeated the French & Spanish
in the famous Trafalgar Battle (1805), is an attempt to
design a contemporary interpretation of the English
Letter, also known as English or English Vernacular.
This specific kind of letter, which appeared in the
18th century and owes much to the work of John
Baskerville (1706-1775), is strongly documented by
type historians like Alan Bartram & James Mosley
in some of their most famous essays. We must point
out that England is perhaps one of the only Western
country that has a national tradition of fine letter-
forms in vernacular use. Temeraire was conceived
from an outsider point of view through a respect-
ful investigation of English letterforms history and
with current graphic design concerns in mind. Each
style is designed to match the others but is also a
standalone homage to a specific part of the English
lettering tradition at the turn of the 19th cen-
tury : gravestone cutting, writing masters
copperplates, Egyptians,
Fat-faces,
Italians…
❤

T Temeraire Quentin Schmerber ÉSAD Amiens

 Thelo is a typeface
dedicated to
reading on screen.

aaa Grand Texte

Conceived in three optical sizes,

Micro

it aims to explore the possibilities of dynamic text.

Thelo is the result of a reflection on the use of

typography on digital media. The family is inspired
by optical adjustments commonly practiced by
punch-cutters in the time of metal typography.
Applied to digital typography, the principle of
optical sizes can improve reading experiences on
screen. Contrary to commonly accepted practices
that tend to maintain identical shapes through-
out different body sizes, Thelo’s letterforms adapt
according to the scale in which they are used to suit
different reading contexts on the web.
The entire family is based on a grid that simulates pixels and sub-pixels. This structure was the
starting point for the design of three specific sizes, 8, 16 and 32 pixels, that correspond respec-
tively to Micro, Text and Grand. The use of a constant UPM (units per em) value allows for a con-
sistent relationship between the three variants. This rigorous drawing method takes into consid-
eration digital display constraints and provides a sharp rendering of characters on screen. Thelo
was named after the Mexican cactus variety Thelocactus, a parallel between the roughness of screen
displays and the drylands where the cactus grow.

T Thelo Tassiana Nuñez Costa ÉSAD Amiens

 O
XOPRTSWZIEDF YACTAY PUYUS

G J H C F E KATATACHKAN
VWHKL
TRUSWPDZBCD WARMIKUNAPA LLAKI

FSGHIJKMNOP PUYU SONGONWAN TUPAYKUSPA.

VWOGXZPHCEDB ¡AMA KATATAYCHU, LLAKI,

FKTSNGXPJSNW KUNTURPA

Inca tunics decorated with tocapus, source tocapu.org

ZIEDFGJCFE SOMBRANMI

HOKLTRUSWXZB HAMUYKUCHKAN!

CDFHIJKSNPO —IMAPAQMI HAMUN CHAY SOMBRA

USTUBJXZPMVC AUKIKUNAPA

HCEDFKTSNFX SUTINPICHU

POGBZIEDF
ICHA JESUS YAWARNINPA KAMACHISGANCHU.

DLJKREHK P OS MANCHAKUNIN, TAYTALLAY.

O
Tocapu is a retrospective look at the Spanish conquest
of the Inca Empire. It is a tribute to the resistance
of the Andean people and their struggle to keep their
culture alive. Based on European art, Indian artists
secretly introduced the iconography of pre-Hispanic
culture, especially religious, since they were forbidden
by their conquerors to show their roots. This local
interpretation of European art combined with elements
coming from the Inca world, created what is now
known as the ‘half breed’ art. Inspired by this, I mixed
two communication styles : the typography system
from Europe and the Inca Tocapus, a pre-Hispanic
graphic communication system that some researchers
think could be a dissaperaring writing. The clean and
geometric forms of the Industrial Sans Serif typogra-
phy were the main elements of the structure. For the
ethnic element, I studied the shapes of the Tocapus
and reused elements that defined the personality of
the typography without losing legibility. The result is a
clean contemporary Sans Serif, a typeface that recalls
the past and adapts to the future, a mixture of two
different cultures ; a half-breed typeface.

T Tocapu Paola Vecco EINA Barcelona

 The Walther family (proper noun)
is designed to typeset a reference book for
French linguistic : the Französisches Etymolo-
gisches Wörterbuch, also called the FEW.
Initiated in the 1920s by the Swiss lexicogra-
pher and philologist Walther von Wartburg,
it is subtitled A representation of the gallo-roman
lexical treasure. In fact, it attempts to trace
exhaustively the evolution of the genetic
of Gallo-Romance languages through time
and territories. — The stylistic autonomy
of each typeface of the Walther family has
Historical phonetic transcriptions used to typeset Romances languages extracted
from Études de géographie linguistique by Jules Gilliéron and Atlas linguistique de la France
been strengthened through regular com-
by Jules Gilliéron and Edmond Edmont. Photograph by Sarah Kremer. munication with the team of linguists who
study and write this dictionary. — In fact,
drawings are not based on a strict skeleton
that would have resulted in a uniform fam-
ily, but instead play on different kinds of
structures and weights to help identifying
the different elements of the article (1).

(1) The beginning and the articulations of each article are highlighted by Walther
Etymon Bold and Walther Article Bold, two heavy serif and sans-serif typefaces.
Walther Article Roman used throughout the article sets in a discreet way the
many bibliographical and geographical fields. The variants of the etymon, whether
composed in Walther Article Italic or in Walther Article Roman small capitals,
stand out from the rest of the text thanks to their light weight.

W Walther Sarah Kremer ANRT Nancy

Interviews with the jury :
Andrea Tinnes
Alejandro Lo Celso
Matthieu Cortat
Gerard Unger
Hans-Jürg Hunziker
Andrea Tinnes (1969) is a type designer,
typo­grapher and educator based in Berlin.
Her design practice is focused on client–
based as well as self-initiated projects.
Through her own label, typecuts (founded
in 2004), she publishes as well as promotes
all her type designs. After several years
of teaching at Norway’s Bergen Academy
of the Arts she took on a professorship
of Type and Typo­graphy at Burg Giebichen-
stein University of Art and Design Halle
in 2007. From 2010 till 2014 she was pro-
rector of the school, being particularly
responsible for the school’s new visual
identity. Andrea’s work has been featured
in many national and international publica-
tions, such as Area_2, Graphic Design for
the 21st Century, etapes : and EYE and in
several exhibitions including the 22annual
100Show, the TDC53 exhibition and the
International Poster and Graphic Design
Festival of Chaumont. She holds awards
from the American Center for Design, red
dot (2001/2002) as well as a Certificate
of Typographic Excellence (TDC53 2007).
She has a degree in communication design
from the University of Applied Sciences
Mainz and an MFA in graphic design from
the California Institute of the Arts.
The relationship between type design
and graphic design seems very present
in your work. How do you reconcile these
two fields, which often correspond to two
different professional activities ?
Designing type and designing with
type are integral activities to me.
These two fields influence each other
all the time and I consider both of them
equally important when it comes to
visualising language. There is always
a dialogue between the typeface
designer and the typographer in me,
no matter which of both practices
I focus on. When designing typefaces
the typographer in me is looking over
my shoulders with special requests for
typographic usage and when doing
typographic work the typeface designer
always wants to intervene in order to
alter and shape the smallest parts of the
alphabet. There is one of my projects
which probably best describes this dual
approach, namely Abecedarium, a large-
sized artwork consisting of 24 typo-
graphic and alphabetic posters, remixing
a variety of alphabetic and typographic
works of mine. And as a result from that
work I’m currently designing a compre-
hensive display family as a customized
tool for my own typographic work,
with many features I really like to use
as a typographer.
You seem to particularly appreciate
ornaments. Where does this preference
come from, and what is intriguing
you in these forms ?
I’m very much fascinated by the dual
nature of ornament : to build complex
and rich patterns out of a simple single
unit. Ornaments can be mesmerizing,
they appeal to our senses and emo-
tions. Furthermore ornament is a kind
of visual narrative with many layers of
meaning, communicating customs, styles
and craftsmanship. I actually started
being interested in patterns and orna-
ments when I worked on my diploma
thesis about “Kitsch” in 1996 at the
FH Mainz. This fascination continued
during my graduate studies at CalArts ;
it was especially Jeffery Keedy who
introduced me to the many facets of
ornaments and patterns along with the
work of W. A. Dwiggings and the beauti-
ful calligraphy of Georg Bocskay.
How would you describe your relation-­
ship between professional activity
and teaching ? Has it evolved or changed
over the years ?
I very much enjoy designing as I also
very much enjoy teaching students.
While both activities highly influence
each other, it’s quite a challenge to
balance them and treat them as equally
important. When I started teaching in
2003 I was still able to run my practice
with client based as well as self-initiated
projects without restrictions. This how-
ever changed when I was appointed
full time professor of type and typogra-
phy at Burg Giebichenstein University
of Art and Design in 2007 and it
changed even more when I was elected
pro-rector of the university in 2010.
Teaching and working for the institution
took up almost all of my time and there
was only little room for my own per-
sonal work (mostly within the semester
breaks). However in my position
as pro-rector I was responsible for
the visual communication of the school,
especially for the new visual identity
and many printed materials. On the one
hand I was supervising and art-directing
a wonderful team of designers – Anja
Kaiser (first year of the project), as
well as Wolfgang Hückel and Wolfgang
Schwärzler (the following years) – all
alumni of our design program. On the
other hand I was also able to take over
certain projects myself, like the design
of the school’s bespoke typeface Burg
Grotesk and several printed collateral.
So, to return to the relationship between
professional activity and teaching, for
the last couple of years all of my activ-
ities – teaching and designing – were
highly related to the university and
very much intertwined. The forthcoming
semester in spring I will be on sabbati-
cal and I'll finally have all the time
I need again for my own explorations
in type and typography.
You have realised Burg Grotesk
for the identity of the university
where you teach. Did you have specific
constraints for this work ? How did
the work evolve during the creative
process ? Did you consider including
students into the project ?
When we started with the project
we knew that we wanted to use
a typeface with a strong connection to
the university. We admittedly never
really considered Post Antiqua by Her-
bert Post – the well known typographer
who designed the Burg logo in 1927 –
because it has too many historical con-
notations and doesn’t seem appropriate
for a contemporary art and design insti-
tution. But I considered indeed using
typefaces from students of our program
and I was very much interested in using
the wonderful master thesis typeface
“Gräbenbach” by Wolfgang Schwärzler
( just published by the new type foundry
Camelot). However back then, Wolfgang
still wanted to further develop Gräben-
bach, so it wasn’t really available for use
yet. When we came up with the idea
to focus on the four letters BURG – the
colloquial and informal abbreviation of
our school – we first tested several type-
faces for BURG, but ultimately weren’t
so happy with many of the proportions
and weights. So in order to quickly
sketch out several ideas I also looked
at one of my typefaces, Roletta Sans
Black. I selected the small caps and
revised all the four letters B, U, R and
G, eliminating all the roundness and
softness. Since the letters worked quite
well we decided to continue in that
direction. And one thing led to another,
I also started to revise the basic alpha-
bet of Roletta Sans regular and bold and
that’s when we decided that this will be
our bespoke typeface for the new visual
identity of the institution, called Burg
Grotesk. We took several aspects into
consideration : the typeface is neutral
but has enough personality to be
recognisable and we would have our
own typographic tool, easily adjustable
to our typographic demands. However
Burg Grotesk isn’t just an unrounded
version of Roletta Sans : during the
design process I revised and altered
many characters and also included
a specific symbol font based on the
geometric shapes of the Burg Logo.
I also added several new fonts, respond-
ing to the demands of my team for our
identity as well as our publications.
For example in 2013 we wanted to use
a monospace typeface in our institu-
tion’s year book so I designed a mono-
space version for the regular weight
with an accompanying italic. In 2014
we wanted to use a bold condensed
face so I added a condensed version to
the family, and for the 2015 year book
I finally designed the italic versions.
So, with Burg Grotesk we have indeed
a comprehensive typeface with many
features and there are even more fonts
in the pipeline.
You have studied and worked in
the United States, which seem to have
influenced you in a working by working
method. Which place do you give to
critics, at which moment does it step in ?
Critical feedback, dialogue and intensive
discussions are always important within
the design process and an essential
part of teaching, stepping in right from
the beginning and not ending till the
final results are achieved.
In an interview you have defined your
teaching with this list : “Besides teaching
all aspects of type and typography I want
to encourage students : to look, to read,
to work, to observe, to inquire, to question,
to research, to discover, to anticipate,
to experiment, to use imagination, to use
process as a method, to explore methods
and tools, to approach from many direc-
tions, to accept coincidences, to explore
extremes, to follow intuition, to work
beyond the limits, to make choices, to be
curious, to be courageous, to be critical,
to be doubtful, to be self-disciplined,
to be independent, to be visually literate,
to be aware of details, to think cross-
disciplinary, to be open-minded, to be
not afraid to fail, to be interested in the
obscure as well as the mundane, to
think beyond the obvious and expected.”
Which targets of this list are more
easily achieved, and which ones seem
to be more difficult ?
The first targets are more easily
achieved then the last ones in the list.
Especially “to be not afraid to fail”
that’s probably one of the more difficult
challenges in a meritocratic society in
which success and achievements are of
such importance. However, to be adven-
turous, risky and not afraid of failures,
that’s indeed crucial in order to come
up with new and innovative ideas.
Germany is a country full of type history,
but surprisingly there are few regular
type design classes in schools, nor
a post-graduate course. This might
illustrate a relative low trust in a future
profession. What role is typography
playing in Germany today ?
It’s true, there are only a few classes
and professors of type in Germany
and there’s no master program at all
purely focussing on type design. Usually
type design is embedded in typogra-
phy courses as teaching assignments
or workshops. I would assume this is
because of the quite inflexible academic
system here. Nonetheless typography
is a supreme discipline, playing an
important role in the various graphic
design or communication design
programs in Germany. As a matter
of fact typography has gained a lot of
popularity and appreciation amongst
students as well as practising designers.
There is a high awareness that typo-
graphic knowledge is an outstanding
skill within the field of visual commu-
nication, combining language and form.
That’s why we actually have a special
typography course at my university as
an integral part of the “Design Funda-
mentals Program” for all design
students from various design fields.
The dissemination and selling system
of typefaces has evolved a lot with
licences for new digital devices and more
recently online subscription and renting
of typefaces. As a creator, but also as
a director of a type foundry, how do you
see thesechanges ?
As far as I am concerned : with so many
new devices and technological devel-
opments and the increasing global
demand for large families with extended
language support it’s impossible for me
to manage all aspects of typeface design
– designing, producing, programming,
controlling, advertising, distributing
and licensing – all by myself while being
a full time professor. That’s why some
of my typefaces are distributed and
licensed via primetype and the pro-
gramming and production is done by
Andreas Eigendorf (Alphabet Type).
But even generally speaking type design
nowadays is all about teamwork and
division of labour.
What are your impressions of the jury
session (observations, criticism, surprises) ?
Could you observe particular tendencies
or new approaches ?
I was amazed by the high quality
and sophistication of typefaces submit-
ted at Pangramme (original designs,
very well drawn). It was indeed
a pleasure looking at many great
works from students around the world.
However I was a bit disappointed
by the poor typographic presentations
in many of the specimens (a critique
we all shared within the jury).
Among all entries, what are the projects
that have particularly held your attention ?
Do you have a “coup de coeur” ?
I particulary liked Nordvest by Nina
Stoessinger, a wonderful typeface with
“horizontal emphasis”. I also liked
very much : Didier by Axel Pelletanche
Thévenart, a little bit quirky but abso-
lutely charming ; Grosse by Vivien Gorse,
very bold and expressive with extreme
contrasts ; Kumar by Hugues Gentil, with
a Latin and a Bengali version, wonder-
fully working together ; Caligula by Jonas
Niedermann, an intriguing and distinc-
tive stencil typeface. All these typefaces
show truly original ideas, are very
well crafted and elaborated.
Alejandro Lo Celso (1970) is an information
& type designer, teacher, and author born
in Córdoba, Argentina. He acted as an
art director at magazines and newspapers
before he graduated with distinction at the
MA in typeface design, University of Reading
(UK), and continued at the ANRT, Atelier
National de Recherche Typographique
in Nancy, France. He's taught courses &
workshops on type design, typography and
letter history at diverse schools in Argentina,
Brazil, Chili, Colombia, France, Germany,
Mexico, Uruguay. In 2001 he founded
PampaType, the first Argentinian type
foundry, whose work has been recognized
internationally. Alejandro teaches typo­
graphy regularly at the Universidad de Río
Negro in Patagonia, and at the Universidad
del Litoral in Santa Fe, both in Argentina.
He's also a visiting professor at the Master
of typographic design, Centro Gestalt
in Veracruz, Mexico, and at the Master
course in type design, University of Buenos
Aires. He lives with partner and daughter
in a peaceful town in the mountains
nearby Córdoba.
You have studied in Europe and have
taught in many countries. Is travelling
an inherent form of enrichment for
your work ? Do you think that your work
is influenced by a cultural mix or more
by South-American culture ?
Well, travelling can help you in the
understanding of different viewpoints,
but I wouldn't take for granted that
to be in different places ‘enriches' your
work by itself. Wise people can travel
far without leaving home. If type has
any sense it may be because it permits
human communication in singular ways.
The problem is that one hopes humans
to have interesting things to say to
each other, but as type designers we
can hardly do anything about it. You
may think that you created a fundamen-
tal new typeface, conceived to transmit
the highest values of humankind, but
there will always be someone who'll use
it for a new toilet paper pack. That is a
singular tragedy of this craft. The unpre-
dictability of your daughters' destinies !
A designer of chairs would hardly see
his creation used for another purpose
than sitting, but typography is invisible,
so people have the right to use it at their
own will. What is left to you I think, is
always try to build your own landscape
no matter what. About a ‘South Amer-
ican culture', I don't see one but many,
countless cultures. It is a vast land, full
of shades of all kind. In my case I think
my training at Reading (UK) and at
the ANRT (France) helped me open my
eyes to the Western tradition in type
and the printing history, but naturally
I carried my own view on the way…
In the end what everyone contributes
is a personal interpretation of the world,
at best you can add your tiny bit to the
whole. And I think that is amazing.
Do you notice typographic specificities
for certain countries, a kind of national
typographic identity ? How do you see
them evolving in a world which is getting
more and more globalised ?
I tend to think of regions as identities.
Not countries, flags, or political fron-
tiers, as the FIFA or the banks want us
to believe in. However I think ‘identity'
is a well-thumbed subject, specially in
the hands of graphic designers, some-
times it can turn into a snake biting
its own tail. We should not confuse the
limited logics of a 'corporate identity'
program with the idea of identity as
related to a town or a group of people
who can share certain values. The idea
of national styles is pretty old how-
ever. Just take a look at the history of
calligraphy and see how the hands were
succeeding one another for centuries.
Usually all styles can be traced back to
particular copyists in particular scrip-
toria and particular regions. Sometimes
one style was not succesfull in its place
of birth but it gained success elsewhere
later on. Similarly one can trace back
most type styles in the timeline of
printing history in Europe. You realized
how fashion was a significant boost in
the 'evolution' of styles. The tastes of
book makers, typographers, editors,
readers, were slowly changing and type
styles were changing from one form to
another, just as the overall look of books
was changing and transforming itself.
This hasn't changed nowadays, it is just
that since the 19th century when the
palette of possible styles exploded into
infinite choices, and even more since
the digital technology and its massive
access, the map of alternatives is a bit
too vast and difficult to navigate. But the
styles are there, and one can trace back
anything. I don't believe in the idea of
purity, as opposed to hybridity. What
you regard as pure, is surely the result
of a previous mix. In the end it is always
about talent and work. So I wouldn't
spend much time in arguing about this.
I see a very powerful possibility in the
idea of a hybrid type, just as it can be
seen in a revival of a classic. A recovered
type or a work that pays tribute to a
known style in history can be a superbly
original new interpretation, or can be
a boring, spiritless copy. The difference
is made by taking wise decisions. So
the important thing is to train the eye,
study, get to know the history, and stop
pretending that now as everything
is mixed there is no point in identifying
the old schools, and everything is fine.
I believe that the act of discerning,
that is valuing the difference, is at the
very heart of typography.
You seem to appreciate the dynamics
of workshops. Is it a prefered way of teach-
ing ? What method would you recommend
for a workshop on contemporary text
type design ? What are your objectives,
what is at stake in a short period of time ?
Workshops are a singular opportunity
to get together to a given point. Under-
standing, exchanging, sometimes cre-
ating. If it results in a good discussion
of interesting stuff, fair enough. I think
many designers don't realize about the
power of co-creation. The importance
is not the resulting object, which can
be more or less good, but the process
by which participants could reach
understanding, knowledge, enlightment.
And that is a singular value that can
be materialized through a workshop.
You have intervened already three
times here, in Metz. How do you see
the future of Messine ?
The future of Messine will be driven
by discussions with the participants of
the workshop. There are already many
possible paths, I look forward to hear
all participants' ideas. That is the best
part of this approach that the school has
taken, involving different generations
of students in an ongoing, living project.
Two years ago, you have given a talk in
Metz intitled How to teach to design the
invisible, where you evoked the text The
Crystal Gobelet by Beatrice Warde. How
do you balance the relationship between
expression and readibility in your work ?
It is a great question, quite impossible to
answer. Perhaps because the equilibrium
is something defined by its extremes
rather than by itself. You can feel when
a design works better than another, or
better than before, when it manages
to temper expression and deliver good
legibility. Creating a new type that feels
new, it's hard work. That it could also be
comfortable to read as well as attractive
for most, really tough. That is why type
design is so exciting. I believe that in the
recent years originality and expression
have gained more importance as values
in typography. You can see excellent
new designs coming from all sides of the
world, specially from places with less
typographic tradition. It seems it adds
to a growing conscience of (let's say) an
irrational-but-still-making-sense way
of reinterpreting the alphabet, a sort
of new airs about how to enrich
the letterforms without compromising
legibility. It may be the result of the
global access to technology. In the
past that was done by particular type
designers (such as Oldrich Menhart,
Christian Zinck, or Miklós Kis) who
were not part of the Western main-
stream at their times. Today there
are many young designers ready to
contribute their new views both crazy
and meaningful. It's good to see this.
You seem to be very fond of literature, with
several homages to writers, like recently
to Georges Perec. Perec is a sans serif type
family, a grotesque with a playful charac-
ter. The quasi totality of literature is edited
in serif types. Do you think it is also possi-
ble to publish literature in sans serif types,
and in particular Perec's work ?
Everything imaginable is possible.
But it's true, literature is a very conserv-
ative industry regarding type. It may
be just the natural consequence of
having to focus readers' attention to the
text, avoiding any possible distraction.
I however like the idea that some books
may be set in a different way. Massin
destroyed, quite nicely, the idea of
mise-en-page of a theatre play. The
often stingy working times of the edito-
rial industry may have also played
a part. It takes much longer to create
a good-looking book in the audacious
Massin style than using a predictable
easy-going bread-&-butter template.
And it takes many more pages. On the
other hand the Massin layout philoso-
phy would have been materially
impossible for say a Nicholas Jenson
in his time, and now that it is materially
possible, it is not feasible for money
reasons. That's why I say stingy.
But it's fine, tradition & avant-garde
also play the balance game in history.
In any case I think Georges Perec
should be in the rebel authors list,
not far from Eugene Ionesco perhaps,
but it's my personal view.
When designing types, do you have
a creative ritual, a fetiche character ?
No, all glyphs are important. In the
end you don't design letterforms, your
design words, and sentences. This
organicity seems to me a capital thing
to the craft. Everything you consider
is a part of something bigger. Rhythm
is far more important than details.
I'm not saying that details are not
important, but as some experiments in
history demonstrated (such as Eric Gill's
type Joanna for instance), a voluntary
inconsistency ( just compare letter 'a'
in Joanna with the rest of the alphabet)
can prove perfectly legible and beautiful
in immersive reading. This kind of
mysteries still seem to me wonderful
about type designing.
In a recent interview given to MyFonts
you explained that in your spare time
at university you draw letters you assem-
bled in a collection intitled Aburribujos.
Did you develop type designs out of these
sketches ? More generally, how important
is sketching for you today ?
I suppose so, but I never take note of
such things. In my case shapes can bear
in my mind for a while. At least until
I draw them in a handbook, then I can
forget them, and pass to other things.
Sometimes those drawings turn into
a typeface later, sometimes they don't,
they remain just there, like a discrete,
unpretentious dream. Borges said that
to think is to forget. You need to choose,
discard the rest. Sketching allows you
to quickly consider all possible things
that fly out there in your mind. Impos-
sible to do that in the computer, a quite
limited tool with a rigid interface,
don't you think ?
The dissemination and selling system
of typefaces has evolved a lot lately,
with licences for new digital devices and
more recently online subscriptions and
renting of typefaces. As a creator, but also
as a director of a type foundry, how do
you see these changes ?
Well no doubt the landscape is challeng-
ing nowadays, but I also see all these
changes as a constant, frequent need
of the industry. So I decided to somehow
trust the design side, which seems to
me made of a more tangible and cred-
ible nature, given that we speak here
about type design. During the eternal
motion, design is the thing that remains,
what makes it have sense. It's what we
see in the types of the past that we all
admire. We can consider all production
& distribution matters at the time but
in the end it's the form, the rhythm,
the elegant overcome of all constraints,
what subjugate us. I try to see any
subsidiary side of type design, not as the
fundamental thing of type design, but as
a series of important aspects to sort out
just after you have created your design,
after it conquered its spirit. It seems a
bit strange to me when someone is more
concerned about the marketing of a
design than actually the design. I think
design speaks by itself. Trust yourself
and trust your design, more than all the
wording you create in order to convince
others that your design is good. If your
design is good people will see it, sooner
or later.
What are your impressions of the jury
session (observations, criticism, surprises) ?
Could you observe particular tendencies
or new approaches ?
A first difficulty was that there were
many good designs, so it was a pitty that
some works couldn't be in the selection,
which by nature had to be limited. The
session was also difficult for we didn't
share discussions in real space and time,
but the school's organization was perfect
and I found it great that we all agreed
on the general criteria of formal quality,
concept, and presentation. My impres-
sion was that the final selection for
the exhibit reached a widely common
regard among us.
Among all entries, which are the projects
that have particularly held your attention ?
Do you have a “coup de cœur” ?
I like many designs, it was hard
to arrive to a narrow selection.
If I was to give a coup de cœur, mine
would be Artemio. The way its stroke
modulation is switched from regular
old style to a subtle reversed contrast
looks like a smart decision to allow
fordistinction of text styles in a less
conventional manner.
Matthieu Cortat, born in 1982 in
Delémont (Switzerland), graduated from
the École d’Art de Lausanne (ÉCAL)
and the Atelier National de Recherche Typo-
graphique (ANRT) in Nancy. Now living
in Lyon, he works on personal projects
of typefaces available on his website
Nonpareille.net as well as commissioned
fonts for various clients (Eastpak, Caran
d’Ache, Swiss Architects Federation, MacVal
contemporary art museum, Terminal 4
of the JFK Airport in New York, Tracks TV
show on Arte, Fondation Louis Vuitton).
Advisor to the Collections of the Lyon
Printing Museum, Matthieu Cortat has set
up the Corpus typographique français, which
collects all typefaces designed in France
between 1850 and today. During the last
three years, he also worked on the new
permanent exhibition of this institution.
He gives lectures and workshops in different
art schools, and his currently working
on the creation of a new Master in Type
Design which will start in September 2016 at
ÉCAL, in Lausanne, under his directorship.
You have studied at ÉCAL, and then at
ANRT, under the leadership of Hanz-Jürg
Hunziker whom you meet here in the
jury. What are your memories of these
training courses ?
Type design was present from the very
beginning of my studies at ÉCAL, going
in both directions of text faces (with
François Rappo) and display faces
(mostly in workshops). In the second
and third years, students were free to
choose which field of graphic design
they wanted to develop in their practice.
I continued to do type design. Then I
met Hans-Jürg during a charming
day. He was in Lausanne to do a lecture
but, as we were all very busy (probably
a close deadline on one of our projects),
I had the chance to spend almost the
entire afternoon with him commenting
my current diploma project, which was
a typeface. This session, the accurate
eye of Hans-Jürg and his kindness
decided me to apply to the ANRT. The
environment there was quite different,
with many more time to focus on one
single project. This allows me to think
more about my practice, to read on type
design, to make fruitful mistakes, while
my former training was more practical,
giving me methodology and efficiency
in my workflow. Both were indeed
very complementary.
Recently you have been put in charge
of the master in type design at ÉCAL.
Can you tell us about your plans and
projects for the course ? Do you think you
can bring something new to it ?
At ÉCAL, I studied graphic design, with
strong inputs in type design. The Master
Type Design is – as well as a Master
Photography – the result of the split in
two of the existing Master Art Direction.
Typography has been important at
ÉCAL since decades, and now there will
be a curriculum plainly dedicated to it.
The main idea is to provide inputs from
different angles on how to design letters,
but also how to design with letters :
for us type design is a part of graphic
design, and we shall keep connections
between those two complementary
fields of creation. Nevertheless, our
future students will be trained as
type designers, with courses done by
François Rappo, helping them to find
their own style within the history of
type design. Bruno Maag will introduce
them to the understanding of commis-
sioned works and group projects. With
Kai Bernau, they will use calligraphy
to create contemporary forms. There are
also graphic design and research pro-
jects, as well as introduction to linguis-
tics, and a mastering course to produce
actual typefaces, ready to be released.
My inputs for the students will be more
on experimental projects. I’m particu-
larly interested in this idea that strong
constraints can bring new forms. Last
semester, I asked my 1st-year students
to create a typeface in 14 points… in real
size (5 mm from the top of the b to the
bottom of the p), without any digital
zoom or magnifying glass. Some results
may never have been tried by the
students without those restraints.
Another field also interests me a lot :
non-latin type design, a topic I also
would like to tackle with the students.
What are for you the truly contemporary
approaches and methods to be applied
to a workshop for text type design ?
What are the targets, what is at stake for
a work done in a short period of time ?
I don’t really care about being ‘truly
contemporary’. The time of avant-garde
is over. You are doing type design
now : you are contemporary. I think
the real interest of workshops in type
design is to see other ways of asking
(and answering) questions, of falling to
graphic issues. Different methodologies,
habits, tastes, are refreshing for
students. It helps them to get rid of
their teachers’ style and find their
own one. Workshops are steps aside.
By looking at your work, for example
your typeface Stuart which reproduces
the proportions and general forms
of venetian types of the fifteenth century,
or in the case of Ecstrat which is a contem-
porary revival of flowery letters from
the eighteenth century, one can observe
a strong interest in history in general.
Where does this keen interest for ‘revivals’
come from, and what is the point of it  ?
It’s interesting that you chose Stuart
and Ecstrat as example. They are not
‘revivals’, but mainly interpretations
of historical periods. (I’ve done more
‘assured’ revivals, Louize, Battling, Henry)
But that’s true, history interests me ;
and not only history of type design.
I’ve worked since almost ten years in
the Printing Museum, in Lyons, spend-
ing hours surrounded by type specimens
and documents from the past centuries.
And there are amazing things in there !
Probably this has stirred the flame for
revivalism, even if I’m far from being
faithful to the models when doing
a revival : there are great things in the
past, indeed ; but we can achieve better
fonts today. So. I would say : our letters
exist since centuries. Not taking care
of their history and creating as if
the sun waited for our birth to shine
sounds a bit pretentious to me.
You seem to work not only on personal
creations but also on commissioned ones.
What importance do you give, or is
given to subjectivity in commissioned
work, and on the other side to obligations
(limitations) in personal projects ?
In fact, those last years, commissioned
types were the biggest part of my work
(Eastpak, Caran d’Ache, Fondation Louis
Vuitton, Tracks, Slatkine & Cie,…), leav-
ing very few space for self-initiated pro-
jects. I had the chance to always works
with graphic designers who understand
typography, and with whom I can really
speak about details and choice. I’ve
never been forced to opt for a graphic
solution I disliked, and generally the
commissioners leave me enough space
to express my ‘style’ (if there is one)
within the boundaries of their projects.
That subtle, but that’s also what makes
type design interesting to me : you can
change so many things in a corporate
communication by transforming one
shape in one single letter ! Objectivity
does not exist in type design, as in any
other field of design.
You have realized quite diverse typefaces,
and do not seem to have strong formal
preferences... or do you nevertheless ?
My formal preferences lay in the type
styles I’ve not worked on. I’m not so
keen on Didot type, slab serifs or ‘manu-
aires’. But maybe one day… no dogma !
You are the youngest jury member.
Meanwhile, it is impressive to see the
quantity of types you have already
created. Do you seek quantity as much
as quality ?
I do hope my types are more impressive
for their quality than their quantity !
At the very beginning of Nonpareille,
I was working a lot on personal projects,
and pretty fast. Now, I need very much
time to ‘mature’ letterforms. I also
think they are very much more interest-
ing than the first ones (So it saddens
me a bit that you chose Stockmar, the
first one, for the Pangramme posters !).
So I’m working more slowly today
(but there are a few new things that
are going to be released this year…).
Anyway, in certain cases, taking too
much time on a project can kill its fresh-
ness, without giving it more accuracy
or interest. Sketches are sometimes
more attractive than oil paintings.
The dissemination and selling system
for typefaces has evolved a lot recently,
with licenses for new digital devices
and more recently online subscriptions
and renting of typefaces. As a creator,
but also as a director of a type foundry,
how do you see these changes ?
I have to admit I never thought about
it seriously. So I do not have a strong
opinion about this.
Since you have finished your studies,
ten years ago, how do see typography
evolving in France ?
Very well. Back then, we were very few.
When a graphic designer thought of
a corporate identity, for instance, colors,
shapes and pictures used to appear first
in his mind. Now, the idea of commis-
sioning a typeface is no longer strange
to them. And, above all, for their clients,
which is even more good news. As
Thierry Brunfaut (creative director at
Base Design, a group of studios with
which I work closely) said, ‘Don’t design
for designers, design for people’. Ten
years ago, type design was quite a ‘niche’
for designers. Now it is much more
recognized by the general public.
What are your impressions of the jury
session (observations, criticism, surprises) ?
Could you observe particular tendencies
or new approaches  ?
Good impressions are the number
of appliers (fantastic !) but also their
origins : type design has definitely a
worldwide diffusion. Also the general
quality of the type faces which contrast
a lot with the weakness of (too many)
graphic presentations. As if the vast
amount of time spent on the creation
of letters had made them too familiar
for their designers to be seen as graphic
artifacts that can be playfully used.
Among all entries, what are the projects
that have particularly held your attention ?
Do you have a “coup de cœur” ?
Difficult question. I do have many,
in fact. I find the Hirondelle typeface
( Jacopo Atzori) astonishing. But there
is a bias : he’s one of my students
(but didn’t created this font in my
course). Prelettres (Eloiza Perez) is very
interesting for the process and ideas,
even if not revolutionary in terms of
‘pure’ design. Not so much attractive
at first sight, I do like Thelo (Tassiana
Nuñez Costa) : it works very well for its
purpose. Perfectly relevant as a ‘Crystal
Goblet’. Caligula ( Jonas Niedermann),
Lida (Borna Izadpanah) and Kumar
(Hugues Gentile) are among the selec-
tion the closest to my personal taste.
But is taste enough ? There are interest-
ing projects dealing with reversed
stress. The most achieved font of this
style is Nordvest (Nina Stössinger).
But it is also the quietest. A font I would
surely choose for setting texts, but not
a coup de cœur, JF-15 (Lucas Le Bihan)
opens doors, and should be pushed
forward. It has much potential. So does
Didier (Axel Pelletanche-Thévénart).
It is still in progress, but finds a nice
way of dealing with the reversed stress.
It has a strong character without being
too assertive. It looks contemporary,
but can be related to many forms in the
modern history of type design, a period
to which it gives a fresh response. It
may not be used for setting long texts,
but it is appealing, serious but not
boring, imperfect but attractive. Isn’t it
the definition of a coup de cœur ?

Gerard Unger, born at Arnhem, Netherlands,
1942. Studied graphic design, typography
and type design from 1963 –’67 at the Gerrit
Rietveld Academy, Amsterdam. He teaches
as visiting professor at the University of
Reading, UK. Department of Typography
& Graphic Communication, and taught
at the Gerrit Rietveld Academy till January
2007. From 2006 till 2012 he was Profes-
sor of Typography at Leiden University, the
Netherlands. Free lance designer from 1972.
He has designed stamps, coins, magazines,
newspapers, books, logo’s, corporate identi-
ties, annual reports and other objects, and
many typefaces. In 1984 he received the H.N.
Werkman-Prize, in ’88 the Gravisie-Prize,
in ’91 the Maurits Enschedé-Prize and in
2009 the Sota-Award. In 2013 he obtained
his PhD at Leiden University, on the sub-
ject of Alverata, a contemporary type design
with roots in the Romanesque period
(±1000 – 1200) and in early Europe. He wrote
articles for the trade press and, for exam-
ple, for Typography Papers. One of his books,
Terwijl je leest, has been translated in Ital-
ian, English (While you are reading), German,
Spanish, Korean and recently in French
(Pendant la lecture). He lectures frequently
about type design and related subjects.
When comparing your typefaces with
one another, one can notice recurrent
commitments in your drawing : open
counterforms, high and thin joints, space
saving proportions. Would you accept
to talk of a personal style, a signature,
even for commissioned projects ?
Ages ago when a Catelan newspaper,
the Heraldo de Aragon, was using my
Swift, a Dutch colleague called me from
Barcelona, saying over the phone : ‘ I see
you right in front of me.’ He was looking
at the newspaper and had recognised
the typeface as one of mine. So, yes,
I am very much in my designs.
In your project with a stronge historical
background (Christoffel van Dijck, Giovan
Francesco Cresci, romanesque capitals)
you strongly emancipate forms from
a simple transcription of the historical
source. For example, in your last project,
Alverata, how did you decide what is
or should become contemporary, or what
cannot be transformed ? How and what
for ‘filters’ do you apply to the source ?
First of all, I like history, as it enables
me to draw lines from the past to the
present and to elongate these into
the future. What I cannot do is make
revivals, as Matthew Carter can do so
well. I tried, but before I realised it I was
applying my own shapes. What history
can supply you with is a concept,
a basic idea, which can be interpreted
in a similar way as Cresci, van Dijck or
the medieval craftsmen interpreted it.
I do not use any filters consciously, but
make it clear to myself what exactly
it is that attracts me in historical
models, such as the colour of Baroque
type designs, or the wild variation of
the Romanesque period. Once I have
internalised such a concept I work with
it and let a design grow from it.
In your practice one can notice that you
can take both, the position of the artist
and of the designer, with flowing relations
between these two fields. What can you
tell us about these two ‘attitudes’, of the
freedom you take or constraints that you
set to yourself  ? Do you feel you are more
an artist than a designer ?
I am definitely not an artist ; I do
not aspire to be very individualistic.
I am very interested in what the art
world is offering, its diversity, its depth
and endless possibilities of expression.
You cannot design types in a vacuum,
at least I can’t. I need a context, anchors,
vistas. Luckily I am married to an
art historian, which has enormously
expanded my views of the world.
You have worked for public space projects,
like road signage or the signage of
the Amsterdam underground. How do
you anticipate the user in these projects ?
More generally, do you think that the work
of a typographer has a social purpose ?
You will agree with me that our script,
any script, is a convention. I work with
a nice definition of the typographic
convention : a practice or procedure
widely observed in a group, especially
to facilitate social interaction ; a cus-
tom. You do not just design letters, you
design words, lines of text, whole texts.
You deal with written language. I do talk
to myself, have discussions with myself
when I am working and writing, but you
communicate much more with others.
That is social interaction.
Besides signage type, another type
of work seems reccurent : typefaces
for printed newspapers, with a more
and more subtle design while printing
techniques are evolving. What is
particulary interesting for you in this
type of design (which you have designed
even out of a personal interest) ?
When I left the art school, in 1967,
the typographic world began to change
drastically ; metal type and letterpress
were replaced by phototypesetting and
offset and soon I was one of the first
designers doing digital type design
(1974). As it were mostly technological
changes, I became interested in the
different new and developing technolo-
gies and used such changes as starting
points for designs. In the period from
roughly 1965 till 1985 newspapers were
heavily affected by the changes, which
made them an attractive playing field.
I also happen to like newspapers as
a social phenomenon, or to be more
precise, I like journalism. A type design
like Swift was designed to give journal-
ists a tool to reach many readers
with a distinctive voice.
In 1988, for the ATypI conference in Lyons,
you published a text entiteld La frontière
de la bière & du vin, which describes
a border between two typographical
cultures. Do you think that this border
is still present today ?
The beer and wine border is an inven-
tion of my wife, the art historian. In the
20th century, especially during the first
half, there was a lively east-west trafic
north of the border, especially concern-
ing design and architecture. Nowadays
the border is less significant, as are most
borders in Europe. Culture now moves
across the globe more quickly than ever
and it has become possible, thanks to
technological developments such as
OpenType, to combine the typographic
products of cultures and to let cross-­
pollination happen.
You have taught at Leiden University,
at Gerrit Rietveld Academy, and actually
intervene at the University of Reading.
What differences and similarities did you
have in these different interventions ?
At the Rietveld Academy the stress
is on creativity and expression, while
Leiden University is a thoroughly
scholarly environment. In Reading the
two approaches are combined. Before
I became a professor at Leiden, I was
interested in research and history, but
the professorship made these interests
much more intense and professional.
How would you describe your relation-­
ship between professional practice
and teaching ? Has it changed or evolved
over the years ?
What I often tell my students : while
teaching I learn as much as you do.
Your recent project Alverata has enticed
you to write a doctoral thesis. Very
few typography theses combine both,
type designing and historical research.
As a type designer how do you see
the future of PhD's ?
In many educational institutions the
interest in practical PhD’s is growing.
In Leiden it is not only the artistic
or designed component that counts,
but a lengthy text, explaining your
research, is equally important. In Read-
ing the last part is everything. I think
the future for PhD’s in design is bright.
What are your impressions of the jury
session (observations, criticism, surprises) ?
Could you observe particular tendencies
or new approaches ?
What surprised me was a growing
interest in gothicky designs, in hybrid
designs combining the latin letterforms
with gothic shapes. What I did not like
were the too literal revivals and the
unoriginality displayed in many sanserif
designs. Generally, there was a very
variable output, with some immature
projects. Apparently self-criticism is
hard to get. Also I had hoped for more
originality, which seems to be as rare
as ever. There were too many copies
and me-too-projects, and too many
poorly made designs – altogether about
half of all the entries, I think. The more
gratifying it was to find some very
original designs as well as many made
with a high level of precision and
professionality. It turned out not to be
too diffcult to make a reasonably wide
selection, with much variation and
good quality. And it provided me with
an interesting insight into the interests
of young designers. A thank you to
all to who took part.
Among all entries, what are the projects
that have particularly held your attention ?
Do you have a “coup de cœur” ?
Two surprises were Otto and Bosozoku.
Both designs really stretched all ideas
about legibility and still both read much
better than I ever expected. One sans
serif that I think is truly original is
Sherpa Sans. For serif fonts, often equally
well designed, a few stand out, such
Dietrich or Caligula. I have seen a few
well designed Egyptiennes, two designs
with reversed contrast that are quite
good. Two fonts I have a lot of sympathy
for are Occurrenza, as the designer has
taken different languages into account
and not made just a pretty design. And
also Meroweg, which is an excellent
project developed in cooperation with
the Bibliothèque Nationale in Paris, for
the numismatic section. Finally, Plenum
and Anbépine (not selected), like a few
others are in their early stages, they
still need a lot of work but could end
as excellent designs.
Finally, we would like to ask you a question
about the notion of color. You seem to be
fond of violet (purple). Is there a reason
for that ?
Ah, it has nothing to do with religion.
It is purely personal and emotional
– hard to explain. I have always been
much attracted by it and I have never
resisted its magnetism. By the way, I like
pink and a few other colours as well.
Hans-Jürg Hunziker (1938), type & typo-
graphic designer Apprenticeship as a typo-
graphic composer in Zürich. Inscription at
the Allgemeine Gewerbeschule in Basle under
Emil Ruder and Armin Hofmann, in 1965.
Departure for the United States to work, from
1967 to 1971, with Mergenthaler Linotype in
Brooklyn N.Y. Under the direction of Mike
Parker, I developped with Matthew Carter
new typefaces for the photocompositon sys-
tems. Return to Europe to join Adrian Fruti-
ger on various projects : IBM, encres Brancher,
the parisian Métro, Aeroport Roissy Charles
de Gaulle, the Univers Cyrilic and the Fruti-
ger. Independent designer since 1976. From
1980 – 1983 in charge of training type design-
ers by developping Arabic typefaces at the
Institut of Arabisation in Rabat, Morocco on
a United Nation developpement programm.
Back in Paris, I worked again as independent
designer before founding, in 1998, the atelier h
with Ursula Held. Book and catalogue designs
for the Centre Georges Pompidou, la Cité de
la musique, l’Institut du monde arabe and the
Bibliothèque nationale de France. From 1999
to 2002, creation of the cooperate typeface
for Siemens with three typestyles : Sans, Serif
and Slab with their italic in three weights.
The fonts, developped with URW, cover a large
number of latin and non latin writing sys-
tems. Teaching activities from 1986-2014 at
the Zürcher Hochschule der Künste and at the
Atelier national de recherche typographique,
from 1990 to 2006.
You studied in Basle under the guidance
of Emil Ruder and Armin Hoffman. Did this
‘school’ have an impact on you, and to what
extent do you have the impression to have
followed the proposed directions ? What are
the similtarities and differences between
the teaching you have received and the one
you are giving ?
The three semesters at the Allgemeine
Gewerbeschule in Basle were decisive
to my teaching philosophy many years
later : to transmit the fundamental basic
knowlegde combined with experimenta-
tion. Armin Hoffmann and Emil Ruder,
later director of the school, made it
possible in accordance with the other
teachers, to admit two professionals for
a year as free students with a personal-
ized programm. Mine included typo-
graphic- and graphic design, photogra-
phy, lithography and type design under
André Gürtler. With his experience
in type design and production, in the
photocomposition industry, he was able
to transmit both : fundamentals and
the new techniques.
You have a great experience in teaching :
more than fifteen years at the ANRT and
26 years in Zurich. It seems that you have
never imagined a professional practice
without parallel teaching. How would
you describe your relationship between
professional practice and teaching ?
Has it changed or evolved over the years ?
I did not think, that I would be teaching.
It was after my experience in Morocco
that the Kunstgewerbeschule Zürich
(now Zürcher Hochschule der Kün-
ste) asked me to teach the subject of
writing at the preparatory classes, at
that time compulsory for the students,
before entering the special classes in the
various fields of art and design, since
many years abandoned. Introducing
the students into the field of writing
and making them aware of the various
apects within, like handwriting, calligra-
phy, typography and type design, is quite
different from following and advising
a student in his postgraduate project.
You suppose, or exepct that he or she
has a basic knowledge in calligraphy and
design. I think that a professional prac-
tice is a plus, being able to talk about
these experiences to the students.
The basic knowledge in teaching does
not change but the technical aspects do.
You have applied several technical proce-
dures while keeping a traditional practice
of type design(ing). Can you tell us about
your relationship to drawing on paper
and the changeover to a digital format ?
Do you see fundamental differences
in comparison with photocomposition ?
Drawing a typeface faded out in 1990
when the special sofware was also
available on the personal computer.
Till then the drawings of the font were
digitised by the typefounderies or com-
panies specialised in this field. For me
the relationship between a letterform
drawn by hand is very different from
the one put together on the computer.
You do not intervene directly, for ex-
ample, on a curb to correct it, you do it
with the “handles” of the curb or tangent
points. By drawing it, you can follow the
movement while drawing it. You trace
it directly, very different from the work
on the computer. Today the temptation
is great to skip the manual part and
start with existing typefaces and almost
no sketches.
One can feel a certain personal attachement
to sans serif types. You have worked for
many years with Adrian Frutiger, particu-
larly on the typeface for the airport
Roissy Charles de Gaulle, and then on its
further development into Frutiger. How
do you see the evolution of sans serif types ?
Is there still a ‘swiss’ style, seeking for
a certain form of neutrality ?
Sans Serif typefaces were part of my
work with Mergenthaler Linotype and
Adrian Frutiger as well as Serif ones.
A certain attachement for the Sans
goes back to my apprenticeship as
a compositor, 1954 – 58, when Deberny
and Peignot proposed the Univers in
1957, a completly new concept and
design, a milestone, it is difficult
to appreciate this novelty today. Hans
Eduard Meier started his Syntax around
1955 with a new and different approach ;
the type was finally released as hand-
set type by the typefoundry Stempel
1969 – 1972. The Frutiger was an other
renewal within the group of the Sans
Serif typefaces. There will always be
an interest in Sans Serifs. You just have
to look a few years back to what has
been produced. Frutiger and Meier
were the most prominent Swiss type
designers in the second half of the 20th
century.
The term “Swiss Style” is wrongly used
and really concerns only the graphic
design and should be called “Interna-
tional Style”.
You have worked on Latin and non-­Latin
typefaces, in particular Cyrillic and Arabic.
Is there a universal approach in type
design ? What links between Latin and
non-Latin are necessary in a multi-script
typeface ? Do you think that it might
be possible to draw the characters of a
language without really understanding it ?
The historic fact that the Latin and the
Cyrillic alphabet derive from the Greek,
with some identical letterforms, make
it much easier than working with a
completely different one like the Latin
and the Arabic, for example. The basic
rule, it seems to me, is to accept this
and work with this difference. It is more
interesting to work with a contrast be-
tween the two systems than being plain
or equal, trying to force the arabic into
a latin context. A basic knowlegde of the
language and practice of calligraphy is
needed and formost a competent coun-
terpart in language and writing.
Most of your work (in type design) seems
to be commissioned work or development
in precise contexts. Do you have personal
projects, or projects you'd love to realise ?
My main occupation was typographic
design for various cultural institutions
with some periods of type design.
Personal projects do exist, slowly pro-
gressing but not an absolute priority.
Have you ever been confronted with
underachievements or regrets concerning
unrealised projects ? If so, of which
ones are you thinking first ?
Not in type design.
While looking for jury members, you were
the one for which it was the most difficult
to find information. How do you see
the Internet where self-promotion seems
sometimes disproportionate ?
It is probably inevitable today to be
present as a professional on the Internet
in order to exist as such. When the
atelier h was dissolved, only big
companies and institutions had their
own websites. I have no need today
in this respect.
What are your impressions of the jury
session (observations, criticism, surprises) ?
Could you observe particular tendencies
or new approaches ?
There is not much change. The variety
of interests is large if you opt for person-
alized projects. The most important is
the learning process and the experience
the student makes. What has changed is
the great amount of signs and weights
made possible with the actual software.
Among all entries, which are the projects
that have particularly held your attention ?
Do you have a “coup de coeur” ?
I had a special interest in the mixture
of latin and non latin typefaces.
As for a coup de cœur, it is Nina.
Alica Display Black Italic Latin Western European

Alpha Brush Latin Western European

Ambersonius Ambergau Latin Western European

Ambersonius Ausonius Latin Western European

Artemio Romain Latin Western European

Artemio Cursif Latin Western European

Artemio Inversé Latin Western European

Awal ‫ⵖⴰⵏⵉⴼⵉⵜ اوال‬ Latin Western European, Arabic, Tifinagh

BONDE COMPRESSED Latin Western European

BONDE SEMICOMPRESSED Latin Western European

BONDE CONDENSED Latin Western European

BONDE SEMICONDENSED Latin Western European

BONDE REGULAR Latin Western European

BONDE SEMIWIDE Latin Western European

BONDE WIDE Latin Western European

BONDE SEMIEXTENDED Latin Western European

BONDE EXTENDED Latin Western European

Bosozuku Square Condensed Latin Western European

Bosozuku Square Latin Western European

Bosozuku No Space Latin Western European

Bosozuku Regular Latin Western European

Bosozuku Rounded Latin Western European

Bosozuku Extended Latin Western European

Brick Кириллица Latin Western & Central European, Cyrillic

Caligula Thin հ Latin Western European

Caligula Thin Italic Latin Western European

Caligula Regular հայերենր Latin Western & Central European, Armenian

Caligula Italic Latin Western European

Caligula Black Latin Western European

Caligula Black Italic Latin Western European

Chilca Latin Western & Central European, Pynyin, Vietnamese

Carolinéale Sangalienne Droite 

Latin Western & Central European, Sangallian Neumes

Dietrich Display Кириллица Latin Western European, Cyrillic

Dietrich Regular Кириллица Latin Western European, Cyrillic

Dietrich Italic Кириллица Latin Western European, Cyrillic

Didier Standard Latin Western European

Didier Stable Latin Western European

Didime Light Latin Western European

Didime Regular Latin Western European

Didime Italic Latin Western European

Didime Bold Latin Western European

ExTypographia Latin Western European

Forje Roman Latin Western European

Forje Italic Latin Western European

Forje Fraktur Latin Western European

Graduel Sirius Latin Western European

Graduel Denebola Latin Western European

Graduel Rastaban Latin Western European

Grosse Prolo Latin Western European

Grosse Mondaine Droite Latin Western European

Grosse Mondaine Souple Latin Western European

Grosse Aristo Droite Latin Western European

Grosse Aristo Souple Latin Western European

Grosse Black Latin Western European

Grosse Black Wide Latin Western European

HAMMOND Latin Western European

Hirondelle Slab Latin Western European

Hybrid All Latin Western European

Hybrid black Latin Western European

hybrid color Latin Western European

JF-�� Latin Western European

Jubiler Latin Western & Central European

Kaius Light Latin Western & Central European

Kaius Light Italic Latin Western & Central European

Kaius Regular Кириллица  Ελληνικά  ગુજરાત

Latin Western & Central European, Cyrillic, Greek, Gujarati , IPA Symbols

Kaius Regular Italic Latin Western & Central European

Kaius Medium Latin Western & Central European

Kaius Medium Italic Latin Western & Central European

Kaius Bold Latin Western & Central European

Kaius Italic Bold Latin Western & Central European

Kaius Black Latin Western & Central European

Kaius Black Italic Latin Western & Central European

Latin Western European

Latin Western & Central European, Korean

Kayak
Koppla Regular 국어
Koppla Italic 국어 Latin Western European, Korean

Koppla Book 국어 Latin Western & Central European, Korean

Koppla Bold Latin Western & Central European

Koppla Title Latin Western European

Kumar Regular বাংলা Latin Western & Central European, Bengali

Kumar Italic Latin Western & Central European

Kumar Bold বাংলা Latin Western & Central European, Bengali

Kumar Display Black Latin Western & Central European

Kumar Display Black Italic Latin Western European

Latin Western European, Arabic

َ
Lida Serif ‫الع َربِية‬

Lida Sans Latin Western European

Latin Western European, Arabic

َ
Lida Italic ‫الع َر ِبية‬
‫لیدا بلد‬ (Lida Bold) Arabic

(Lida Black) Arabic

‫لیدا هدالین‬

ME��W�� Latin Western European

MISC ONE Latin Western European

MISC TWO Latin Western European

MISC THREE Latin Western European

Nina Latin Western & Central European

Noort Regular Ελληνικά বাংলা

Latin Western & Central European, Greek, Bengali, Sanskrit, Assamese

Noort Italic বাংলা Latin Western & Central European, Bengali

Noort SemiBold Latin Western European

Noort Bold Latin Western European

Noort ExtraBold Latin Western European

Noort Display Black Latin Western & Central European

Nordvest Regular Latin Western & Central European

Nordvest Italic Latin Western & Central European

Nordvest Medium Latin Western & Central European

Nordvest Medium Italic Latin Western & Central European

Nordvest Bold Latin Western & Central European

Nordvest Bold Latin Western & Central European

Nordvest Bold Italic Latin Western & Central European

Nordvest Black Latin Western & Central European

Nordvest Black Italic Latin Western & Central European

Occurrenza Latin Western & Central European

Otto Regular Latin Western European

Otto Left Latin Western European

Otto Right Latin Western European

Pit-A-Pat Latin Western European

Prelettres Latin Western European

Quasar Regular Latin Western & Central European

Quasar Italic Latin Western & Central European

Quasar Bold Latin Western & Central European

Quasar Bold Italic Latin Western & Central European

Quasar Display Latin Western European

Quasar Display Italic Latin Western European

Quasar Sans Light Latin Western & Central European

Quasar Sans Light Italic Latin Western & Central European

Quasar Sans Regular Latin Western & Central European

Quasar Sans Regular Italic Latin Western & Central European

Quasar Sans Bold Latin Western & Central European

Quasar Sans Black Latin Western & Central European

Sastre Regular Ελληνικάς ‫עברית‬ Latin Western & Central European, Greek, Hebrew

Sastre Italic Latin Western European

Sastre ExtraBold Latin Western European

Sastre Color Bright Latin Western European

Sastre Color Dark Latin Western European

Satira Light Latin Western European

Satira Book Latin Western European

Satira Regular Кириллица Ελληνικά

Latin Western & Central European, Cyrillic, Greek

Satira Italic Latin Western European

Satira SemiBold Latin Western European

Satira SemiBold Italic Latin Western European

Satira Bold Latin Western European

Satira Bold Italic Latin Western European

Satira Black Latin Western European

Satira Black Italic Latin Western European

Satira Display Кириллица Ελληνικά

Latin Western & Central European, Cyrillic, Greek

Satira Display Italic Latin Western European

Séquence Petit Œil Book Latin Western & Central European

Séquence Petit Œil Book Italic Latin Western & Central European

Séquence Petit Œil Medium Latin Western & Central European

Séquence Petit Œil Medium Italic Latin Western & Central European

Séquence Petit Œil Bold Latin Western & Central European

Séquence Petit Œil Bold Italic Latin Western & Central European

Séquence Gros Œil Book Latin Western & Central European

Séquence Gros Œil Book Italic Latin Western & Central European

Séquence Gros Œil Medium Latin Western & Central European

Séquence Gros Œil Medium Italic Latin Western & Central European

Séquence Gros Œil Bold Latin Western & Central European

Séquence Gros Œil Bold Italic Latin Western & Central European

Séquence Compressed Medium Latin Western & Central European

Shelf Hair Latin Western & Central European

Shelf Hair Oblique Latin Western & Central European

Shelf Hair Italique Latin Western & Central European

Shelf Regular Kириллица ‫עברית‬ Latin Western & Central European, Cyrillic, Hebrew
Shelf Oblique Latin Western & Central European

Shelf ItalicLatin Western & Central European

Shelf Black Latin Western & Central European

Shelf Black Oblique Latin Western & Central European

Shelf Black Italic Latin Western & Central European

Sherpa Sans Regular Latin Western & Central European

Sherpa Sans Italic Latin Western & Central European

Sherpa Sans Medium Latin Western & Central European

Sherpa Sans Medium Italic Latin Western & Central European

Sherpa Sans SemiBold Italic Latin Western & Central European

Sherpa Sans SemiBold Italic Latin Western & Central European

Sherpa Sans Bold Italic Latin Western & Central European

Sherpa Sans Bold Italic Latin Western & Central European

Sherpa Sans ExtraBold Latin Western & Central European

Sherpa Sans ExtraBold Italic Latin Western & Central European

Sirion Latin Western & Central European

Talia Hairline Latin Western European

Talia Thin Latin Western European

Talia ExtraLight Latin Western European

Talia Light Latin Western European

Talia SemiLight Latin Western European

Talia Book Кириллица Latin Western & Central European, Cyrillic

Talia Book Italic A Latin Western & Central European

Talia Book Italic B Latin Western & Central European

Talia Regular Latin Western European

Talia Medium Latin Western European

Talia SemiBold Latin Western European

Talia Bold Latin Western European

Talia ExtraBold Latin Western European

Talia Heavy Latin Western European

Temeraire Light Subhead Latin Western European

Temeraire Text Latin Western & Central European

Temeraire Italic Latin Western European

Temeraire Bold Egyptian Latin Western European

Temeraire Display Black Latin Western European

Temeraire Display Italian Italic Latin Western European

Thelo Texte Latin Western European

Thelo Texte Italique Latin Western European

Thelo Texte Gras Latin Western European

Thelo Micro Latin Western European

Thelo Micro Italique Latin Western European

Thelo Grand Latin Western & Central European

Tocapu Latin Western European

TOCAPU STENCIL Latin Western European

Tocapu Bold Latin Western European

Walther Article Roman Latin Western & Central European

Walther Article Italic Ελληνικά Fọnẹtik

Latin Western & Central European, Greek, Phonetic

Walther Article Bold Latin Western European

Walther Etymon Bold Latin Western European

Pangramme : learning type design Jury
is an edition by École Supérieure Andrea Tinnes
d'Art de Lorraine, published Matthieu Cortat
on the occasion of the eponymous Alejandro Lo Celso
exhibition in Metz, 28 April –  Hans-Jürg Hunziker
20 May 2016. The event, including Gerard Unger
its call for application, was created,
organised and designed by Atelier Editorial Design
Design graphique & Typographie Francis Ramel
of ÉSAL's visual communication Jérôme Knebusch
department. Rafael Ribas

The project descriptions are Text typeface

by the respective authors, edited Messine
& proofread by Cemren Altan.
Translations & proofreading
The interviews have been made
Interpreters International
by the students of Metz.

The introduction text is by Jérôme Printing

Knebusch, professor at ÉSAL, who also Imbescheidt
compiled the Bibliography in Images .
Edition
Director of publication Limited edition of 300 copies.
Nathalie Filser Shall not be sold.

Curator, art direction Thanks

Jérôme Knebusch Anne-Sophie Ohmer
Elamine Maecha
Assistance Daniel Collot
Francis Ramel
Copyright
The students of Atelier All rights reserved, image & typeface
Design graphique & Typographie copyright by the respective authors.
Ackah Ines No part of this book may be
Aube Senoussaoui reproduced without permission.
Julie Dufour © ÉSAL 2016
Jules Aubriot
Julien Brandts École Supérieure d'Art de Lorraine
Juliette Maniscalco 1 rue de la citadelle
Margaux Bucheron F – 57000 Metz
Marion Niporte
Selim Ayhan
Thaïs Gondouin
Thomas Treffot
 Participating schools in the call for application
Academy of Fine Arts, Katowice
Academy of Fine Arts, Krakow
Academy of Fine Arts, Gdańsk
Academy of Fine Arts and Design,
University of Ljubljana
Appalachian State University,
Boone, North Carolina
ArtEZ Hogeschool voor
de Kunsten, Arnhem
Atelier National de Recherche
Typographique, Nancy
Axe Sud MID Typographie, Toulouse
Bern University of the Arts
British Higher School of Art
and Design, Moscow
Burg Giebichenstein
Kunsthochschule Halle
Campus de la Fonderie
de l'Image, Bagnolet
Centre Universitari de Disseny i
Art de Barcelona
Centro de Estudios Gestalt, Veracruz
Escuela de Arte y Superior
de Diseño de Valencia
École Cantonale d'Art de Lausanne
École d'Art Maryse Eloy, Paris
École de Communication Visuelle,
Aix-en-Provence
École de Recherche Graphique,
Brussels
École Estienne, Paris
École Nationale Supérieure
des Arts Décoratifs, Paris
École Supérieure d'Art
et de Design, Amiens
École Supérieure d'Art
et de Communication, Cambrai
École de Communication Visuelle
Aquitaine, Bordeaux
École de Communication Visuelle,
Paris
École romande d'arts
et communication, Lausanne
Escola Superior de Artes e
Design, Matosinhos
École Supérieure
d'Art et Design, Saint-Etienne
École Supérieure d'Art
de Lorraine,  Metz
Escola Superior de Desenho
Industrial, Rio de Janeiro
Escuela de Artes y Oficios, Santiago
Fachhochschule Aachen
Fachhochschule Graz
Fachhochschule Hamburg
Fachhochschule Krefeld
Hochschule Darmstadt
Hochschule Düsseldorf
Hochschule Mainz
Hannam University, Daejeon
Haute école des arts du Rhin,
Mulhouse
Haute école des arts du Rhin,
Strasbourg
Haute école d'art
et de design, Genève
Hochschule der Künste, Bern
Hochschule für Bildene Künste,
Braunschweig
Hochschule für Gestaltung
Karlsruhe
Hochschule für Grafik und
Buchkunst, Leipzig
Hongik, Seoul
Institut supérieur
des beaux-arts, Besançon
Institut Privé d'Éducation Supérieur
en Arts Appliqués, Montpellier
Institut supérieur
des arts de Toulouse
Kingston University, London
Koninklijke Academie van
Beeldende Kunsten, Den Haag
Kookmin University, Seoul
La Martinière – Diderot, Lyon
Licence Pro Graphisme
et Conception Éditoriale, Chaumont
Lycée Bréquigny, Rennes
Masaryk University, Brno
Moscow State University
of Printing Arts, Moscow
Naravoslovnotehniška fakulteta,
Univerza v Ljubljani, Ljubljana
National Taiwan University
of Science and Technology, Taipei
National University
of Colombia, Bogotá
Pontifical Catholic University
of Chile, Santiago de Chile
Rhine-Waal University of Applied
Sciences, Kamp-Lintfort
Sabancı Üniversitesi, Istanbul
Saint-Lucas School of Arts, Ghent
Strzemiński Academy
of Fine Arts, Lódź
Texas A&M University
at Commerce, Dallas
Type@Cooper, New York City
London College of Communication
Universidad de Buenos Aires
Universidad de Chile, Santiago
Universidad Nacional Autónoma
de México, Mexico City
Universidad Piloto
de Colombia, Bogotá
Universidade do Estado de Minas
Gerais, Belo Horizonte
Universität der Künste Berlin
Université du Québec à Montréal
University of Arts, Poznań
University of Reading
University of Zagreb,
Faculty of Architecture
Vilnius Academy of Arts
Yale University School of Art,
New Haven, Connecticut
Zürcher Hochschule
der Künste, Zürich
Mediapartners
 Nina
by Fernanda
Cozzi
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PRELETTRES Sherpa Sans

ALEJANDRO LO CELSO

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Otto
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